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ESTD : 1981

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PERCUSSIVE ARTS CENTRE (Regd)

(Palghat Mani Iyer Memorial Arts Centre)

__ __ 26 Se _

[26 th]

TH.AALAVAADYOTSAVA'

PALGHAT T.S. MANI IYER

PALANI SUBRAMANYA PILLAI

BANGALORE K. VENKATARAM

(Founder)

PAC, 183. 8th Cross. 2nd Block, Jayanagar, Bangalore - 560 Oil, India
Tel : (080) 32941607. 26609100, 94484 63079, www.percussiveartscentre.org

‘With ‘ Best Compliments from

EXCELLENT

EDUCATIONAL

ENTERPRISES

Pioneers in the Production of
Educational Text Books for
PUC Classes

'Ram Nivas' No. 285, 100 Feet Ring Road
7th Block, 4th Phase, BSK 3rd Stage
BANGALORE - 560 085.

www.percussivearlscenire.org

ESTD 1981

D : 26609100, 9448463079

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PERCUSSIVE ARTS CENTRE (Regd.)

Founder Sangeetha Kala Rnthna Bangalore K. Venkataram
183. 8th Cross. 2nd Block. Jayanagar BangalorE-56001 1. INDIA

Ojjgjc

da on ji> ra

In unlton u-lth cmmlc rhythm

sooz.

26tli THAA LA VAADYOTSAVA 2007

VENUE

26th to 29th July

SEVA SADANA

14th Cross. Malleswaram. Bangalore - 560 003

www.percussiveartscentre.org

Tel : 26609100, 94484 63079

PERCUSSIVE ARTS CENTRE [Regd.]

FOUNDER : Sangeetha Kala Rathna BANGALORE K. VENKATARAM
183, 8th Cross, 2nd Block, Jayanagar, Bangalore - 560 011.

PRESIDENT

M. R. Doraiswamy Iyengar

EXECUTIVE DIRECTOR
V. Krishna

DIRECTORS - PAT RONS
Dr. A H. Rama Rao
V. Krishnan

Dr. I I.S. Anasuya Kulkarni & NX Kulkarni

Q IAIRMAN, ADVISORY COUNCIL
Dr. R.K. Srikantan

DIRECTOR - FINANCE

G. X Jaya

MANAGEMENT COMMITTEE
Special Projects
Padma Gurudutt
T.S-Sathyavathy
M-S.Sheda

Anoor X Ananthakrishna Sharirn
(Percussion Ensemble • Liya Vnishli)

Youth Forum
H.S. Sudhindra
G. Guruprasanna

Newsletter

V. Kalavaihy Avadhoot
NX Harini
N R Sharada

DIRECTOR - INTERNAL AUDIT OR
N. X Ananthanarayana

DIRECTOR

Nilakanta Ramessh

EDITORIAL COMMITTEE
N. S. Krishnamurthy
S. N. Chandrasekhar

COMMITTEE OF HOST'S
N Ramacliandra
Anoor X Dathatreya Sharma
N Ja>alakshmi
H. Geetha
G. X Doreswamy
X Sathya Kumar
Tejaswini
Sowmya
G. Rajesh

Rajeswari Vaidyanathan
Sowmya Rajcsh

MEMBERS OF ADVISORY COUNCIL

Chairman : Dr. R.K. SRIKANTAN

4, Puttaranganna Layout, Seshadripuram, Bangalore - 560 020. S 23368190

Anand A V.

2343, 20ih Cross, K. R. Road
BSK 2nd Stage

Bangalore - 560 070 (26761664)

Arvind Parikh
2, K. Du bash Marg

Mumbai - 4CC 023 (022-2244420)

Balasubranianian T. S.

Karnatic Music Book Centre
14, First Street, Sripuram,

Chennai - 600014 (044-28113253)

Chandrasekhar S. N.

67, Basappa Layout

Bangalore - 560 019 (26675758)

Dandamudi Ram Mohan Rao

Omkara Sadanam, 23-35-27 A,

J agarlamudi vani St., Lakshminagar,
Vijayawada - 520001 (0866-534829)

Dr. M. R. Gautam

14, Basaveshwara Layout
Nagashettyhalli, Sanjaynagar

Bangalore - 560 094 (23511935)

Gopalkrishnan Te. Ve.

29, Rajagopalan 2nd Street

Off 1st Seaward Road, Valmikinagar

Chennai - 600 041 (044-24404944)

Govinda Rao T. K.

Ganamandira, 17, 11th Cross,

Indiranagar,

Chennai - 600 020 (044-24413589)

Janakiram S. R. Prof.

23/2, Deivashikhamani Road,

Royapettah,

Chennai - 600 014 (044-28230220)

Kali das K. S.

121, Karpagam Ave
4th Street, RA Puram,

Chennai - 6CC028. (044-24939234)

Iyengar B. R. C.

54, Ishaq Colony

Secendarabad - 500 015. (0842-842406)

Kamalakara Rao V.

17-30-18, Zamindar Malta

Rajamundry - 533 1C5 (0883-476384)

Krishnamurthv S.

973, 23rd Cross, ‘T Block, Jayanagar
Bangalore - 560 Oil. (26555811)

Krishnamurthy N. S.

1826, 12th Main, 31st Cross
BSK 2 Stage,

Bangalore - 560 070. (26711151)

Lccla Ramanathan

27, Magrath Road
Bangalore - 560 025

(25776101)

Dr. Lokanadha Sarma T.

Dy.Director (H) RD&TDC
Office of the Development Commissioner
Handicrafts, 3rd floor, Municipal School
building, Sitarain Mill Compound, Ramji
Boricha Marg, Lower Parel street,

Mumbai - 400011 (022-23C21283

Mehta R. C. Prof.

Jambubei, Dandia Bazaar

Baroda - 390 Oil (0265-55388)

Dr. Murthy T. K.

1/555, Kanhikeyapuram,

2nd Cross Street, Madipakkam,

Chennai - 6C0 091

(044-25023798)

Dr. Rndha Vcnkatachalam
12, Plaza Theatre Road,

Connaught Place, New Delhi-1.
(011-3325673/3721456)

Rajagopalan L.S

Ganapathy Agraharam

Trichur - 680 022 (0487-20458)

Dr. N. Ramanathan

18, 4th Main, R. A. Puram

Chennai - 6C0 028 (044-24359430)

Sankaran Trichy, Prof.

62, Rangachair Road,

Alwaipet,

Chennai - 600 018 (044-2459970)

Mahamahopadhyaya
Dr. Sathyanarayana R.

Tra>ee Lakshmi, 9th Cross, Jayanagar,
Mysore - 570 014 (0821-2567891)

Sivaraman, K. Umayalpuram

27, Dr. Ranagachari Road, Mylapore,
Chennai - 600 004 (044-24996126)

Prof. Subramanyam, T. R.

124, Annanagar, Cauvery Colony
Chennai - 600 012

(044-26631580, 24934287)

Dr. Sulochana Rajendran

1, BIT 3 Rooms, Kings Circle,

Mumbai - 400 019. (022-4095722)

Sundaram B. M.

Musicologist

10, Upstairs, Pookara Street,

Muthialpet,

Pondicherry - 605 003 (0413-2339594)

Visveswaran R. Prof.

6/18, 1st Main, Sriramapura

2nd Stage, Madhuvana Layout

Mysore - 570 023. (0821-236284 7)

Dr. V. V. Sri vats a
‘Guru Guhanjali’

25, 1st Cross Street,

TTK Road,

Chennai-600018 (044-24320533, 24351773)

BOARD OF MANAGEMENT

Dr. R. K. SRIKANTAN
Chairman.
Advisory Council

M. R. DORAISWAMY IYENGAR
President,

Percussive Arts Centre

V. KRISHNA
Executive Director

Dr. A. H. RAMA RAO

Director - Patron

Dr. H.S. ANASUYA KULKARNI
N.R. KULKARNI

Directors - Patrons

V. KRISHNAN
Director - Patron

N.R. ANANTHA
NARAYAN

Director - Internal Auditor

NILAKANTA RAMESSH
Director

¥ &

it"/i

G. R. JAYA
Director , Finance

DIGNITARIES

Dr. MAHESH JOSHI

Senior Director. Doordarshan Kendra. Bangalore

Sri CHIRANJIV SINGH

Former Ambassador ot India to UNESCO

inaugurates the festival

Justice Dr. M. RAMA JOIS

( former Chief Justice of Punjab & Haryana Higti Court
<5 former Governor ot Jharkhand and Bihar )

Pt. RAJSHEKHAR MANSUR

(President.

Karnataka Sangoetha Nnthya Academy )

will bo the Chief Guest and present the awards

writ deliver the valedictory address,
distribute prizes to the Winners of
Amruthur Janaki Ammal Memorial
Competition for Percussions

AWARDEES

Vidwan MAVF.LIKARA K. VEUJKUITY NAIR

'ftj/g/iaf Man! Iyer Memorial Awardee'

Vidwan SOSALE SESHAGIRI DAS

Ibloni Subramanya Pillai Memorial Awardee '

Sri S.N. CHANDRASHF.KAR

Bangalore K Venkataram Memorial Awardee

Vidwan B. DHRUVARAJ

H. Puttachar Memorial Awardee'

Vidwan U.N. GIRIDHAR UDUPA

'CMAKA Prize Winner '

a : 26609100, 94484 63079

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PERCUSSIVE ARTS CENTRE(R)

(PALGHAT MANI IYER MEMORIAL ARTS CENTRE)

Founded by Sangeatha Kala Rathna
BANGALORE K. VENKATARAM

183, 8th Cross, 2nd Block, Jayanagar. Bangalore - 1 1

presents

THAALAVAADYOTSAVA 2007

26'* Annual Percussive Arts Festival &
Music Conference

from 26th to 29th, July, 2007

INAUGURATION

on Thursday, 26th July, 2007 at 6.00 pm

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(A*Oc£ zOreOOcO, OoPOOrz *to%. OcOV.rcD)

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Dr. MAHESH JOSHI

(Senior Director, Doordarshan Kendra, Bangalore)
will inaugural e

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Sri. CHIRANJIV SINGH

(Former Ambassador of India Jo UNESCO)
uwfl release the Souvenir publication

The Inaugural function will be followed by a vblin
duet concert by

Mysore M. Nagaraj & Dr. Mysore M. Manjunath

with A.V. A nand on the mridangam and
U.N. Giridhar Udupa on the ghatam

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( Venue )

SEVA SADANA

14th Cross, Malleswaram, Bangalore - 560 003

YOU ARE CORDIALLY INVITED

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THAALAVAADYOTSAVA 2007

VALEDICTORY &
PRESENTATION OF AWARDS
on Sunday, 29fh July, 2007 at 10.00 am
Justice Dr. M. RAMA JOIS

(fanner Chef Justice of Punjab & Haryana High
Court & former Governor of Jharkhand arid Bihar }
wU be ihe Chief Guest and present the awards

Pt. RAJSHEKHAR MANSUR

(President. Kurnolako Songeefho Nrnhyc Academy)
icitf dvfcer the valedictory address, distribute prices to
the Winners oj Amruthur Janaki Animal
Memorial Competition For Percussions
(Courtesy. Amruthur Janaki Ammai Charitable Trust)
& present the G.S.Srlram Memorial Prize (Courtesy
Vidushi Revathi Murthy)

PRESENTATION OF AWARDS

PALGIIAT MANI IYER MEMORIAL AWARD
to Vidwan MAVEI IKAKA K. VELUKUTTY NAIR

PALANI SIlltRAMANYA PILLAI MEMORIAL AWARD
(Courtesy Smt. SUDHA RAO and Dr A.H.
RAMA RAO of Ramasudha Cliantabtc Trust)

lo Vidwan SOSALE SESHAGIRI DAS

BANGALORE K. VENKATARAM MEMORIAL AWARD
tc Sri S.N. CHANDRASHKKAH

H.PUTTACI I AH MEMORIAL AWARD
(created by Khanjari Kalaa Shiromnni II. R
RAMACHAR. Courtesy Vidushi B R Latha)

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to Vidwan B. DHRUVARAJ

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CM AM A (USA) PRIZE

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9.45 Z>o\Sn &/&-

.VOTE NAGASWARA SWAAGATHA AT 945 AM

ioa

www.percussiveartscentre.org S 26609100. 94484 63079

PERCUSSIVE ARTS CENTRE

(PALGHAT MANI IYER MEMORIAL ARTS CENTRE)

Founded by Sangeetha Kata Rathna BANGALORE K. VENKATARAM

183, 8th Cross, 2nd Block, Jayanagar, Bangalore - 560 011.

presents

THAALAVAADYOTSAVA 2007

26 th Annual Percussive Arts Festival & Music

from 26th to 29th July 2007

SEVASADANA

14th Cross, Malleswaram, Bangalore - 560 003.

PROGRAMMES

6.00 pm : INAUGURAL FUNCTION

7.00 pm : H.C K BHATTA MEMORIAL PROGRAM (Courtesy Dr SREEDEVJ and Dr

H.K.CHANDRASHEKAR, U.S.A.)

MYSORE M.NAGARAJ S Dr. MYSORE M.MANJUNATH (violin duetl A. V.ANAND

(mridangam). GIRIDHAR UDUPA(ghatam)

FRIDAY,. 2 Z 10 JULY 2QQ7

6.00 pm : SANGEETHA KALANIDHI DR.R.K.SRIKANTAN ENDOWMENT PROGRAM

STHREE THAAL THARANG presents 'LAYA RAAGA SANGAMAM’

SUKANYA RAMAGOPAL (ghata tharang, ghatam and konakkol)

RANJANI VENKATESH (mridangam). BHAGYALAKSHMI KRISHNA (morching)

7.00 pm : U D N RAO MEMORIAL PROGRAM (Courtesy Smt. NALINI RAO & family) and

U.D.NARAYANAMURTHY MEMORIAL PROGRAM (Courtesy: Smt. YAMUNA
DEVI & family)

Prof. MYSORE NAGAMANI SRINATH (vocal). NALINA MOHAN (violin).
B.DHRUVARAJ (mridangam). M.A.KRISHNAMURTHY (ghatam), BHARADWAJ
SATHAVALLI (morching)

SATURDAY, 2?*.JULY 200.7

5.30 pm : NAGAMMA AND A.VENKOBACHAR MEMORIAL PROGRAM (Courtesy:
Mridanga Kala Shiromani A.V.ANAND)

LAYA VINYASAby K.U.JAYACHANDRA RAO (mridangam). G.OMKAR (ghatam)

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PROFILES

L

Dr.MAHESH JOSHI

Senior Director. Doordarshan Kendra, Bangalore

Mr. Mahesh Joshi, a Senior Officer belonging to
Indian Broadcasting (Programme) Service has
been serving Doordarshan, National Television
of India for the past 1 6 years in several capacities
His postings include Director, Doordarshan
Kendra, Panaji-Goa, Director, Doordarshan
Kendra, Gulbargu Karnataka and later on
Director, Marketing Division, All India Radio and
Doordarshan, Bangalore and now as Senior
Director, Doordarshan Kendra, Bangalore.

Mr. Joshi has multifaceted academic qualifications
with a Basic Degree in Arts and Post Graduate
Qualificatios in Labour and Post Graduate
Qualifications in Labour Law, Industrial Relations
and Personnel Management, Journalism,
Behavioural Sciences, Human Rights and MBA.
He has already submitted a research thesis on
"Media and Human Rights", for his Doctorate

As Senior Director in Doordarshan, he has been
responsible for giving a face lift to the regular
"Doordarshan Cnandcina Channel" with his pro-
activity both in studio based programmes and in
reality performance shows. "Hello Deputy CM",
"Hello Minister" programmes on Human Rights,
NGO's IT/BT are some of his new innovative
programmes that have made "Doordarshan"
"Samdeep Darshan'. His tenure is dotted by his
exemplary approach to the programming and
management. He was able to take the medium to
he grass roots with an effort to bring people close
to the medium. Live performances, five interaction
with the audience and meaningful programmes
have been his priority. Both the in-house and
sponsored programmes have witnessed a major

metamorphosis in the last one and half year of
his tenure

In recognition of the excellence achieved by the
Kendra, the Indian Television Industry has
conferred the Indian Telly Award on Doordarshan
Kendra, Bangabre, as "THE BEST KENDRA" for
the year 2005.

Several organizations have already recognized
the contribution made by Mi. Mahesh Joshi for
bringing about qualitative change in the
functioning of Doordarshan. The bangalore City
Corporation conferred on h u a prestigious
'Kempegowda Aword 2006"

The Global Council of i. .aian Christians felicitate !
him with "Mother Teresa Life & Light Award" i 1 e
Basavanagudi Foundation felicitated him with
"Jayaprakosh Narayun Nulional Award" which
he shared with eminent personalities like Prof. U.R.
Rao, Space Scientist and Former Chairman of
Indian Space Research Organisation This apart
he has been honoured with "P. lankesh Award",
'Vishweshwaroya Award" and many other
awards for his contribution towards the Media.

Youth coupled with dynamism, Joshi's strengths
are his vast public relations and zest for doing
impossible things. His well wishers call him a
"Tiger" and'Crusader".

Mr Mahesh Joshi is a descendent and great
grandson of Guru Govinda Bhat, the Spiritual
Guru of Saint Shishunala Shariff, the First Mystic
Kannada Poet, popularly known as "Kabir of
Karnataka".

Chiranjiv Singh, former Ambassador of India to
UNESCO in Paris, joined the Indian Administrative
Service in 1969. He retired in 2005 os
Development Commissioner of Karnataka and
Additional Chief Secretary to Govt, of Karnataka.
During his career he held various positions in the
central and state governments, some of which are.
Principal Secretary, Finance Dept ; Principal
Secretary, Agriculture; Secretary, Culture and
Tourism Depts.; Director Administrative Training
Institute, Mysore; Director Mines and Geology;
Director, Information, Culture, and Tourism; Govt,
of Karnataka; Special Assistant to the Minister of
Agriculture, Irrigation, Food and Civil Supplies
and Rural Development, Govt, of India; Chairman

of Naval and Air Force Standing Establishment
Committees in the Ministry of Defense, Govt, of
India; Additional Director General of Tourism,
Govt, of India; Chief Executive of the National
Council of Hotel Management and Catering
Technology Institutes.

Since his retirement he is associated with numerous
non-governmental organizations working in the
fields of rural development, environment and
culture. For his services rendered to the state he
was awarded the "Rajyothsava Award", in 2005.
At Present he is President of the Alliance Francaise,
Bangalore

Sri CHIRANJIV SINGH

Former Ambassador of India to UNESCO

Justice Dr. M. RAMA JOIS

( former Chief Justice of Punjab & Haryana High Court &
former Governor of Jharkhand and Bihar)

M. Rama Jois was born on 27th July 1931 in School of India University, Bangalore. He was
Araga village of Thirthahalli Taluk, Shimoga awarded Naresh Chanda Sen Gupta Gold Medal
District, State of Karnataka. After securing B.Sc. by Asiatic Society. Calcutta for outstanding
and B.L Degree from Mysore University - he was contribution to the study of Society and Law,
enrolled as an Advocate of Karnataka High Court Ancient and Modem, in May 1 999. He has been
in 1 959. He has been very successful in the legal the Vice-President ofBharatiya Vidya Bhavan,
profession particularly in the branch of Service Bangalore Kendra, since 1994 and President,
and Constitutional Law. He authored the book Bharat Vikas Parishad since 1999. Justice K.
"Services under the State" which was published Ramaswamy has stated in his foreword to 'Eternal
by the Indian Law Institute in 1974 and re- Values in Manusmriti' written by the author •" he
published in 1 987 He was appointed Judge of has extracted the grains of gold in Manu Smriti
the Karnataka High Court in November 1 977. excluding the unwanted material, so that these
His another book "Legal and Constitutional History values are made known and available to the
of India" in two volumes which includes Ancient Society. The other important books authored by
Indian Legal, Judicial and Constitutional Law him are Trivarga, Way to Lead a Purposeful Life"
(Vyavahara Dharma and Raja Dharma) has been in Kannada "Guruli and Social Harmony" in
subsidised by National Book Trust. This book has English to commemorate the birth centenary
been described as a monumental work by eminent celebrations of Sri Madhava Sadashiva
scholars and Judges in their review of the book. It Golwolkar, the 2"d Sar Sangh Chalak of Rashtriya
has been recommended for study for the law degree Sway am Sevak Sangh, popularly known as
course by the Bar Council of India. In May 1 992, Guruji.
he became the Chief Justice of Punjab and

Haryana High Court, which post he held till his He was the Governor of State of Jharkhand and
retirement. After retirement, he resumed practice Bihar. He was awarded Doctor of Laws (LLD) by
as Senior Advocate in the Supreme Court and has Kuvempu University, Shimoga, Karnataka on
argued in matters of National importance. He has March 27th 2004 for his life time contribution in
been the Honorary Professor in National Law legal and acodemic fields.

Pt. RAJSHEKHAR MANSUR

( President . Karnataka Sangeetha Nrithya Academy )

Born in 1 942 at Dharwad, Karnataka, Pt.
Rajshekhar Mansur was initiated early into music
and groomed meticulously lor nearly 25 years
by his illustrious father. Late Pt Mallikarjun
Mansur. The rich legacy of the Jaipur-Atrauli
Gharana and the rigour of 'Sadhana' were part
of his childhood and youth Even though
Rajshekhar Mansur pursued a teaching career in
English Literature and Language, music has
remained an essential part of his life. He retired
as Chairman & Professor of English, Karnatak
University, Dharwad, in 2002.

He was trained by his father in the most rigourous
and disciplined "Gurup-Shishya" parampara of
Music. Hence, he has imbibed the intricate
nuances and complexities of the 'gharana', first
as a shishya of his father and later as a leading
exponent of the Jaipur Gharana.

Pt. Rajashekhar's performances are distinguished
for his astute mastery of the characterstic idiom

of Jaipur Gharana, encompassing the vast
repertoire of ragas and layakari. Pt. Rajshekhar
Mansur is being hailed for maintaining the pristine
beauty and form of his gharana. Some of his
performances have been preserved for archives
of the Indira Gandhi Manav Sangrahalaya,
Bhopal.

Pt. Mansur is an avid performer at various
prestigious music festivals and conferences. He
has also given extensive Lecture- Demonstrations
on music at various places including the Indian
Institute of Management, Bangalore and for
SPICMACAY. He is Top Grode Vocalist in All India
Radio

Pt. Mansur was a member of the Sangeet-Nrutya
Academy of Karnataka. In recognition of his
contribution to music, the Karnataka State
awarded him the Rajyotsava Award in 1 997.

PALGHAT MANI IYER

London and in the Edinburgh Festival. He
dominated the field as the outstanding genius
of Mridangam, the very art of playing which,
the vadya evolved into a new technique in his
hands. Music Academy, Madras conferred on
him the Sangeetha Kalanidhi award in 1966-
67. Mani Iyer passed away on 30.5.1981 .

This Art Centre has been named after Palghat
Mani Iyer. Versatile Mridangam Artist
Mavelikkara K. Velukkutty Nair gets
this Award for the year 2007.

Bom on 12th June 1912 of Smt Anandambal
and Sri Tiruvilvamalai R. Sesha Bhagavatar. a
well-known musician, at Pazhayanur, Mani
Iyer had his first lessons in Mridangam, when
he was nine years old, from Sathapuram
Subbier and later under Sri Viswanath Iyer; he
started first accompanying Harikatha
performances for his father when he was only
ten years of age, and later Palghat Rama
Bhagavatar, Fnnappadam Venkatarama
Bhagavatar and for Chembai Vaidyanatha
Bhagavatar. With the last, he had a successful
all-India tour. His debut was in the Music
Academy when he was only 1 4 years of age.
He came into contact with Mridangam
Vidwan Tanjore Vaidyanatha Iyer with whom
he had further training in the intricacies of the
art. He became closely associated in numerous
performances with Pudukkottai
Dakshinamurthi Pillai; there has hardly been
a musician who did not covet having him
accompany on Mridangam; Mani Iyer trained
a large number of pupils and became the
foremost Mrudangist of the time. He received
Presidential Award for Karnatak Instrument in
1956. He was invited in 1965 to participate
in the Common Wealth Music Festival in

MAVELIKKARA K. VELUKKUTTY NAIR

Bom in Mavelikkara on 2 October 1 926 to the
famous mrudangam artiste Muthukulam
Kumara Pillai and Karthyayani Amma,
Velukkutty Nair followed the footsteps of his
great father and learned the first lessons of
mrudangam from the father himself. For 1 0 years
from the age of 1 5, he received expert training
from noted mrudanga exponent Padmabhushan
Palakkad Mani Aiyer under the gurukula system.
He has been accompanying famous vocalists
in mrudanga during concerts, since the age of
11 .

From vester years’ great music personalities like
Chempai Vaidyanatha Bhagavathar,
Dr.Semmamkudi Sreenivasa Aiyer, G. N.
Balasubramanyam, Madhurai Mani Aiyer, M.
D. Ramanathan, Aalathoor Brothers, D. K.
Pattammal, M. L. Vasantha Kumari to famous
contemporary vocalists like Dr. Balamurali
Krishna, Dr. K. J. Yesudas, the list of
personalities with whom Velukkutti Nair
associated during his more than six-decade long
musical life is unending. Mrudangam was not
the only passion for Mr. Nair. Trained in vocal
music (vaippattu) from early childhood. Mr.
Nair has conducted musical concerts (sangeetha
kacheri) in several stages, both inside and
outside Kerala, for the last 10 years.

Mr. Nair served as the head of the Department
of Mrudanga at the Swathi Thirunal Music
College, Thiruvananthapuram from 1958 to
1 982. An "A Top' grade artiste of the All India
Radio (AIR), Mr. Nair has been the audition
board member of AIR and a visiting professor
at the University of Kerala. After
Padmabhooshan Palghat Mam Iyer, it is Mr.
Nair who has popularized the famous
'Thanjavoor Bani of Mrudanga" in Kerala. His
disciples' list includes some of the best known
names in mrudanga, both in Kerala and abroad.
He is still continuing with his teaching mission
in Mrudungam as well as Carnatic Music.

Velukkutty Nair is a recipient of several awards
and accolades. A few among them are Kerala
Sangitha-Nataka Academy Award, Kerala
Sangitha Nataka Academy Fellowship, Ganalaya
Visharad, instituted by the Travancore
Devaswom Board, Gavaka Ratnam, Laya Vadya
Praveena, Mrudanga Ratnam, Sangitha Ratnam,
Sangitha Kalanidhi, Dr. Semmankudi Sreenivasa
Aiyer Golden Jubilee Award, Manaveeyam
Award, Thulasivana Puraskaram, Vadya,
Kulapathi ,Kala Darppana and many more to

say. Mr.Nair has rendered yeoman service to
the growth and development of Carnatic music
in Kerala.

In recognition of his achievements, he receives
the Palghat Mani Iyer Award for the year 2007.

PALANI SUBRAMANYA PILLAI

Born on 20-4-1908, son of the great Kanjira
Vidwan Palani Muthiah Pillai, belonged to a
tribe of great giants in the field of Mrudangam
and Kanjira. He represented all that was
aesthetic in music: a rare sensitivity,
introspection, balance, finesse, classicism and
an intellectual approach. Palani had a unique
bani. or style, characterised by Sunaadam, the
beautiful sycronization of the right and left
sides (valanthalai and thoppi) of the instrument.
He was the appointed Asthana Vidwan of
Travancore in 1942 and was Professor of
Mrudanga Studies in the Central College of
Carnatic music, Madras. He was also a
Professor of Mrudanga Studies at the music
college of Tamil Isai Sangam of Madras. Palani
could sing very well also. His accompaniment
to all the leading Vidwans of his time are
well remembered -end his combination with
Palghat Mani are cherished memories still. The
great vidwan passed away on 27-5-1962.

To perpetuate the memory of the great vidwan,
PALANI SUBRAMANYA PILLAI AWARD has
been instituted and presented to a leading
vidwan proficient in Laya with the title LAYA
KALAA NIPUNA in the
THAALAVAADYOTHSAVA organised by the
Percussive Arts Centre. This award, donated
by Smt. Sudha R. Rao and Dr. A.H. Rama Rao
of Ramasudha Charities, is presented to
Vidwan Sosale Seshagiri Das for the year 2007.

RAMASUDHA CHARITABLE TRUST

Smt. SUDHA RAO

Dr. A. H. RAMARAO

Primary- School at Manta pa. This village school
has a strength about 225, catering to the needs
of seven villages. About 100 students are from
SC, ST and the rest are all from Backward
Class.

Ramasudha Charitable Trust is actively engager!
in the development of primary education in a
large number of villages in and around
Annekal. It has conducted Chaithinya
Shibiraas to educated Women Panchayat
Members and Women Members of Mahila
Mandalies to know their duties and
responsibilities, the literary programmes,
the differents aspects of Women class.

Its trustees have contributed financially
to the well known educational and
cultural institutions in a big way. They
have donated to recent earthquake relief;
houses for the aged, institutions run for
« the disabled and the like.

RAMASUDHA CHARITIABIE TRUST was
started in 1992 with a simple theme SHARE
YOUR )OY WITH OTHERS. It had a very
humble beginning. The primary focus being to
alleviate the sufferings of the downtrodden
people of village ' JANGALPALYA’ near
Bannerghatta at 20 km on Bangalore - Anekal
Road. Here they started a Balvihara, a tailoring
section for women of the village, Mahila
Mandal, Mahila Samruddhi Yojane, free
coaching classes for Kannada Medium students
Dof SSLC, and a paper cover manufacturing unit.
They have also started literacy programme for
about 300 villages. Further, they are also
involved in helping the Government Higher

The Trustees have kindly donated the
PALANI SUBRAMANYA PILLAI AWARD to
_ be presented to Vidwan Sosale Seshagiri Das
vJ for the year 2007.

SOSALE SESHAGIRI DAS

Born in Mysore on 1 0 m January 1 925 Sri Sosale
Seshagiri Das is one of the most eminent Kanjira
players of Karnataka. Seshagiri Das had an
attraction for the Kanjira right from his
childhood. He was enchanted by the Kanjira
playing of Sosale Ramdas and had his initial
learning under him. Later he underwent training
in mridangam under reputed Vidwan
T.M.Venkatesh Thevar.

Sri Seshagiri Das trained himself in the art of
Khanjari playing on his own and started
accompanying many Harikatha vidwans and
musicians from a very young age. In 1 937, he
moved to Mysore and started playing for leading
vidwans of those days. He was given a big break
in the field of Carnatic music by violin Vidwan
and Maestro Sri. T Chowdiah, who encouraged
and helped him gain recognition.

He has played kanjira along with great
mridangam vidwans like Palghat Mani Iyer,
Palani Subramanya Pillai, Ramanathapuram
Murugabhoopathi, Palghat Raghu, Vellore
Ramabhadran and Umayalpuram Sivararnan
and many others. Apart from being an eminent
performer he has trained number of students
who are popular artistes in the field. A very
simple and unassuming person Sri Seshagiri Das
has received many awards and titles like "Kanjira
Vadya Visharadha", "Karnataka Kalatilaka",
"Kalabhushana", "Kanjira Kesari", and
"Ganakalabhushana" during the 24 m Music
Conference of Karnataka Ganakala Parishath
held at Subramanya (D.K).

In recognition of his achievements, he receives the
Palani Subramanya Pillai Award for the year 2007.

He joined Akashvani Mysore in 194J when
M.V.Gopalaswamy was the Station Director
and later joined Akashvani Bangalore in 1955.
He served as a staff artiste in Akashvani
Bangalore till his retirement in 1 985.

Seshagiri Das has the distinction of playing for
almost all the leading musicians of more than
three generations. He has rendered khanjari
accompaniment to great vidwans such as
Mysore T.Chowdiah, Chembai Vaidyanatha
Bhagavathar, G.N.Balasubramanyam, Alathur
Brothers, Dr.V.Doraiswarny Iyengar,
Dr.R.K.Srikantan, M. L.Vasanthakumari,
R.R.Keashavamurthy, Dwaram Venkataswamv
Naidu, T.R.Mahalingam, D.K.Pattamal,
Chintalapalli Ramachandra Rao, Swaramurthy
V.N.Rao.

BANC. At OR I k. VI NKA I ARAM

Born on 10th January 1934 to Post Master S.
Krishnaswamy Iyer & Smt. Lakshmi Bangalore
K.Venkataram was a disciple of maestro Ghatam
K.S.Manjunathan and also had guidance in
vocal under Gana Kala Bhushana Anoor S.
Ramakrishna.

Bangalore K.Venkataram made his debut in
performing in Karnatak Classical music in 1 946
and commenced playing with the renowned
maestro Mysore T. Chowdiah who was in his
prime at that time. Since then he had the
privilege of accompanying stalwarts in the field
like Mysore Vasudevacharya, Chembai
Vaidyanatha Bhagavathar, Ariyakkudi
Ramanuja Iyengar, Madurai Srirangam Iyengar
of Mannargudi, Nagaswaram T.N.Rajarathnam
Pillai, Musiri Subrahmanya Iyer, Dwaram
Venkataswamy Naidu, Flute T.R.Mahalingam,
Madurai Mani Iyer, G.N.Balasubramanyam,
Chittoor Subramanya Pillai, Alathoor Brothers,
Semmangudi Srinivasa Iyer, Dr. Balamurali
Krishna, Veena S.Balachander, etc. He had to
his credit the pleasure of having accompanied
all leading artists like M.S.Subbulakshrni,
D.K.Pattammal, M.L.Vasanthakumari, Cmanl
Sankara Sastry, Sathur Subramanyam,
T.K.Rangachari, M.D.Ramanathan, Dr.
V.Doreswamy Iyengar, Madurai Somu, Ihitte
Krishna Iyengar, Chintalapalli Ramachandra
Rao, R.K.Srikantan, A. Subba Rao, Chitti Babu,
Flute Ramani, Dr. S. Ramanatahan, Radha
Jayalakshmi, Bangalore Violin Trio of
H.V.Krishnamurthy-Anoor Ramakrishna-
A.Veerabhadriah, Prof. I.N.Krishnan, Lalgudi
Jayaraman, M.S. Gopalakrishnan,

R. R.Keshavamurthy, T.Gururajappa.etc. He had
also accompanied all leading lights of the
present generation such as Trichur
V.Ramachandran, T.V.Shankaranarayanan,
Mandolin Srinivas, Ravikiran, Bombay sisters,
T.N.Seshagopalan, Hyderabad brothers, Sanjay
Subramayam, Flute Shashank, Unnikrishnan,

S. Shankar, R.K.Padmanabha-D.V.Nagarajan and
others

He had provided ghatam support with great
masters like Kumbakonam Rangu Iyengar,
Tanjore Ramadas Rao, PalghatMani Iyer, Palani

Subrmanya Pillai, Ramana'tahapuram
Murugabhoopalhy, T.K.Murthy, Palghat Raghu,
Velloore Ramabhadran, Umayalpuram
Sivaraman, RammohanRao, Kamakalakara Rao,
Karaikkudi Mani, T.M.Puttaswamiah,
C.K.Ayyamani Iyer, M.L.Veerabhadriah, etc.
He also played double mrudangam with Tanjore
Upendran, A.V.Anand etc.

Other activities of Venkataram included his
contributions in the academic side like
authoring, editing, publishing, several
monographs on Percussive arts, serving
prestigious organisations like Percussive Arts
Centre (Director), Karnataka Ganakala Parishat
(Founder Secretary and present Vice President),
Academy of Music • Bangalore (One of the
founders), Bangalore Gayana Samaja (Fxperts’
Committee member) and involved in several
music teaching institutions like Ayyanar College
of Music, Vijaya College of Music and the Slate
Academy. He was the Editor of the quarterly
newsletter 'Thalavadya' of Percussive Arts
Centre till his demise.

Venkataram had directed and presented
Percussion Ensembles with innovative ideas and
himself played the Get hu Vaadya in the Lava
Lahari percussion ensemble. Venkataram
served the Karnataka Sangeetha Nruthya
Academy as member. Chairman of the
Proficiency examinations of Govt. Examination
Board, Chairman of the Text 8ook Committees
for Talavadvas, Member of National Talent
Scholarship - Govt, of India, Selection
Committee Chairman of AIR for specific
recruitments. Judge for AIR Music competitions
etc.. He had presented Special Features and
Lecdems on different topics on the AIR and at
the Music Conferences of the Madras Music
Academy, Indian Fine Arts Society - Chennai,
Karnataka Ganakala Parishat , Bangalore Gayana

Samaja, JS5 Sangeetha Sabha - Mysore,
Chembur Fine Arts Centre - Mumbai etc.

Venkataram had several Titles and honours to
his credit, important among them being the
Chowdiah Memorial Award (1992), State
Academy Award - Karnataka Kala Thilaka
(1 993), Karnataka Rajyothsava Award of Govt,
of Karnataka in Nov. 2001 by Chief Minister

S. M., Krishna, Recipient of Senior Fellowship
of Dept, of Culture, Govt, of India. He presided
over the 28"' Music Conference of the Bangalore
Gayana Samaja in their 90*' Year, in 1 996 and
received the coveted honour 'Sangeetha
Kalarathna', the first Ghata artist to get such an
honour.

Bangalore K.Venkataram has left behind his
wife Sangeetha Kaalaa Bhooshini Vidushi
G.R.Jaya, son V. Krishna (Mrudanga), daughter
V.Kalavathy Avadhoot (Vocal), daughter-in-law
N.R.Harini (Vocal) all of whom approved and
graded artistes of AIR& DD. a rare combination
of all the members of a single family being AIR
approved musicians.

Proteges and those benefitted by his guidance
include Flute B.N.Suresh, wife G.R.Jaya,

T. S.Sathyavathy, Padma Gurudutt, Nilakanta
Ramessh. Anoor Dattatreya Sharma, son
V. Krishna etc.

This year the Arts Centre has instituted the
Sangeetha Kalarathna BANGALORE
K.VENKATARAM MEMORIAL AWARD in the
name of its I ounder. All persons connected with
Indian Classical Music - musicians, musicologists,
art critics and others (of age 70 years and above)
who have served the cause of Indian Classical
Music with distinction for several decades, will
be considered for this Lifetime Achievement
Award in memory of Sri Bangalore K. Venkataram.
Senior Art Critic Sri S.N.CHANDRASHEKAR
receives the inaugural BANGALORE
K.VENKATARAM MEMORIAL AWARD.

S N CHANDRASHEKAR

Son of Smt. Sharadamba and Sri.
S. Nanjudaiaya, Senior Advocate of yesteryears,
S N Chandrashekar is a senior journalist,
specialized in art ciritidsm. Even as a student
at the elementary grade, he was drawn more by
music, dance, drama and painting than the
academic studies. While at home, melodies
aired by his mother and her two sisters who
were competent vocalists haunted him, a
chance exposure to a Bharathanatyam recital
fascinated him no end. He was nine years old
at the time and was not even aware that the
artiste was the legendary Jathi Thayamma. The
exposure made him the crave to learn the art.

That ambition was fulfilled when he witnessed
a programme by the internationally acclaimed
Ram Gopal's troupe in Bangalore in 1 939. More
than Ram's Bharatanatyam, it was the Kathak
numbers by Sohanlal of Jaipur that made an
impact for him. When approached the Kathak
Maestro readily agreed to take Chandrashekhar
as a Student. With his influence he learnt
Bhathanatyam from the famous Conjeevaram

Yellappa Pillai. As an artiste, he took part in
several programmes of Sohanlal's troupe.
Meanwhile, with the well known playwright
Parvathawani, he acted in several plays.

A skin malady put an end to his artistic career.
Even before that around 1 947^8, Chandrashekar
had started reviewing music, dance and painting
for Mysindia, an English weekly edited by Mr.
Philip Spratt, an Englishman. It was Mr. Spratt
who encouraged Chandrashekhar to go ahead.
This he continued while he worked for
Sarny ukta Karnataka, the well known Kannada
daily on the managerial side, before he joined
Deccan Herald. It was here that his talent
blossomed to the fullest to win recognition as
an exacting critic of all facets of fine arts.
Besides, his desk duties, he was also drafted
for reporting and writing articles and interviews.
On retirement as a Chief Sub Editor, the Indian
Express availed of his services, where again he
continued with his art reviews. Even after calling
it a day, he has continued reviewing dance for
Kannada Prabha.

During his career, spanning over 40 years,
Chandrashekhar served on the AIR Audition
panel at multiple levels and was a membe of
the State Lalitkala and Sangeel Nritiya Academies
at different parts of time. He has written and
edited books for both these academies and the
Kannada Sahitya Parishath. Recognising his
services in the field of fine arts, several
institutions have vied with one another to
confer honours and awards on Chandrashekhar.
They include the coveted Rajyotsava award
(1986) and that of the two state academies.
They have come in handy for him to create
endowments in the name of his mentors. Now
85 plus, he still continues his pen-pushing
occupation with the Bharatiya Vidya Bhavan.

In recognition of his achievements, he receives
the Bangalore K. Venkataram Memorial Award
for the year 2007.

H. PUTTACHAR

Born in 1898, Veteran mrudangist late H.
Puttachar was instrumental in popularising the
mridanga and according a pride of place in
the Karnatak concerts in Karnataka. He hailed
from a family of Yakshagana artists. It was but
natural that his initial training was in maddale
under the guidance of his father Honnachar.
He learnt vocal, harmonium and violin from
Chickanna. Then he learnt tabla from
Puttacharya of Kanchi in Gurukula tradition.
He accompanied on the mridanga various
leading drama troupes. T.Chowdiah & B.
Devendrappa’s counsel prevailed upon him and
he stuck to mridanga play.

Puttachar was regarded as an accomplished
accompanist and he lived upto his reputation.
He trained a good number of aspirants. He
was honoured by various organisations
including Bangalore Gayana Samaja, Karnataka
Ganakala Parishat, Karnataka Sangeetha Nataka
Academy felicitated him with the award. He
passed away on 11-12-1981.

An award is endowed under the banner of the
Percussive Arts Centre in his name by his
reputed Khanjari player-son H.P. Ramachar.
This award will be presented annually,
to an young versatile musician in recognition
of the contribution to the field of carnatic
music. Vidwan B. Druvaraj gets this award
for 2007.

H. P. RAMACHAR

Vidwan H.P. Ramachar, the son of great
mridanga maestro Late H. PUTTACHAR born
on 9.7.1925 has been a byword for the
Khanjira play. Hailing from a family of
Yakshagana artists he started learning mridanga
from his father. However, he was attracted
towards Khanjira and become an adept player
of the instrument. At an early age of seven, he
started accompanying his father. Impressed by
the boy Ramachar's talents. Sir Krishnaraja
Wodeyar conferred upon him the title 'Master
Bala Vidwan'. Ramachar has the credit of
accompanying all the doyens of Kamatak Music
of his time. Besides electronic media
performances, his stint beyond the seas have
won paens of praise from all quarters, he has
also participated in the percussion ensembles
with Zakir Hussain and Vellore Ramabhadran.
Ramachar has added new dimensions to the
Khanjira - play with his innovative approach
and creative imagination. His lecture
demonstrations are educative and enlightening.
As a staff artist of AIR, his contribution was
noteworthy.

Ramachar designed and directed a unique
percussion ensemble comprising only lady
artists. This exclusive women percussion
ensemble "Mahila Laya Madhuri" made a name
within and outside the country.

Ramachar, with a vast experience of playing
for dramas, dance recitals and music concerts,
has been profusely presented with titles and
awards. Among them, the Kannada Rajyotsava
Award, PACs Palani Subramanya Pillai Award
and the title 'Laya Kala Nipuna' and prestegious
'K. Pultu Rao memorial Palghat Mani Award"
and Sangeetha Kalarathna of Bangalore Gayana
Samaja need special mention.

Ramachar has instituted "H. Puttachar
Memorial Award" (an award in memory of his
father H. Puttachar) to be awarded to an young
versatile musician. After his demise his
daughter Khanjari Vidushi B.R. Latha has
kindly consented to donate the award. This
award is presented to Vidwan B. Druvaraj this
year 2007.

B. DRUVARAJ

Born m a family of musicians, B. Druvaraj is
eldest son of reputed morching artiste Vidwan
L. Bhimachar and vocal musician Smt. S.
Jayamma. Born on 1 4"' January 1 959, in Mysore,
he started learning Mridangam at the age of
Seven, under Mridangam Maestro Vidwan H.
Puttachar. Later he had tutelage under the
Mridangam Great Vidwan Ramanathapuram
C.S.Muruga Bhupathi.

8. Druvaraj did proficiency exam in distinction,
in the year 1975, conducted by Karnataka
Higher Education Examination Board. He is an
'A’ grade artist of All India Radio and has
featured in many Radio and TV Programmes.
He is an approved Music Examiner in Percussion
for Karnataka Higher Education Examination
Board. He is a Bachelor’s Degree holder in
Commerce from University of Mysore.

Druvaraj has played at various sabhas and
cultural organizations all over India and abroad.
He has visited Mauritius and South Africa in
1 980 on a concert tour. He also participated in
the 5"’ International Jew’s harp festival held at
Amsterdam in 2006 along with his father,
brother B.Rajashekar and sister Bhagyalakshmi
Krishna all of whom are reputed morching
artistes. He is a member of 'laya Lahari', the
well known percussion ensemble of Sri Ayyanar
College of Music, Bangalore. Druvaraj lias been
honored with the title "LAYA VADYA
KALABUSHANA" by Sri Thyagaraja Cana
Sabha Trust, Bangalore.

Druvaraj has provided mridangam
accompaniment to reputed artistes such as
Dr.R.K.Srikantan, Saxophone Kadri Copalanath,
R.R.Keshavamurthy, P.Bhuvaneshwaraiah,
A.K.C.Natarajan, Aanayam patti Ganeshan,
Anoor Ramakrishna, H.V.Krishnamurthy,

A. Veerabhadraiah, Prof.R.Visweswaran,

T.V.Shankarnarayan, S. Shankar,

Prof.T.R.Subramanyam, Prof.Mysore Nagamani
Srinath, Rajalakshmi Tirunarayanan, Neela
Ramagopal, T.S.Satyavathi, Rajakumar Bharathi,
Neyveli Santhanagopalan, Kurudi Venkannachar
and others.

In recognition of his promising career

B. Druvaraj is awarded the H. Puttachar
Memorial Award.

CMANA

( Carnatic Music Association of North America J

CMANA is a non-profit, tax-exempt
organization whose objective is to promote
the learning, understanding and appreciation
of Carnatic Music in the USA. CMANA was
founded in 1976 and is run by elected
volunteer trustees. Every year, CMANA spon-
sors concert tours of USA by eminent Carnatic
musicians. CMANA also conducts music
concerts, lecture demonstrations, and music
contests for Children at NJ. They have en-
dowed a Prize to be presented to an young
Percussion Artist below the age of 30.U.N.
Giridhar Udupa receives this prize for the year
2007.

U.N. GIRIDHAR UDUPA

Ghatam Giridhar Udupa is one of the leading
musicians in the world of rhythm. Thumping
into the musical world at an age as tender as 4,
Udupa has been mesmerizing the audience with
his immaculate style and innate creativity.

Born into a family of music and literature,
rhythm flows in his blood. After initial tutelage
under his father and well-known Mridangist
Ullur Nagendra Udupa, he is currently a disciple
of Ghatam Vidushi Sukanya Ramgopal and
Ghatam Vidwan V.Suresh.

Udupa, a commerce graduate, has treaded the
path of music with a heart of an artist and the
will of an innovator. His persistence for
perfection has taken him to the league of the
nation's most sought after percussionists.

Udupa performs on the Ghatam, the Indian
claypot. He also performs on varied South Indian
percussion instruments including Mridangam,
Khanjira and Morsing. He renders Konnakol
(syllables) with equal aplomb.

He has accompanied eminent musicians
including Sarvashree Dr.L.Subramaniam,
Dr.M.Balamuralikrishna, M.S.Gopalkrishna,
R.K.Srikantan, T.N.Krishnan, Palghat Raghu,
Umayalpuram K Sivaraman, A.K.Palanivel,
Mysore Nagaraj and Manjunath, Ganesh
Kumaresh, Mandolin Srinivas, Dr.N.Ramani,
K.J.Yesudas, T.V.Gopalkrishna, M.S.Sheelaand
others.

Apart from playing authentic Carnatic Music,
he has performed in many Fusion, Jazz, Blues,
Flamenco, Symphony Orchestra, Celtic Music,
Latin Music, DJ Music, World Music, Talavadya
(Percussion Ensemble) and Jugalbandhi concerts
and has been part of numerous International
Music Festivals with renowned Indian
Musicians like Dr.L.Subramaniam, Pandit
Jasraj, Ustad Amjad Ali Khan, Ganesh
Kumaresh, Anindo Chatterjee, Sivamam, Kavita
Krishnamurti Subramaniam, Pandit Birju
Maharaj, Louis Banks, Niladri Kumar, Amit
Heri, Lucky Ali, Ranjit Barot, Bhavani Shankar,
Rahul Sharma, Amaan Ali Khan, Ayaan Ali

GS. SR! RAM MEMORIAL PRIZE

Khan, Swapan Chaudhuri and Keith Peters and
Western Musicians like Larry Coryell, George
Brooks, John Neptune, Ivry gitlis, Lewis
Pragasam, Virginia Mayhew and others. He has
been part of several Global Symphony
Orchestras including State Philharmonic
Orchestra of Sibiu (Romania), Polska
Filharmonia Sinfonia Baltica of Poland and
Royal Symphony Orchestra of Oman.

Udupa is a founder Member of 'layatharanga",
a team of Indian classical musicians who have
embarked on creating new waves of music
blending different forms of classical, folk and
world music.

Udupa is the first Indian percussionist to
perform at the prestigious Krakow International
Percussion Festival in 2005.

Udupa has given concerts under the auspices
of prestigious Sabhas all over India and abroad.

Recipient of the prestigious Central Government
Scholarship, Udupa bagged first prize at the
National Level All India Radio Competition in
the Year 2000. He is conferred with title 'Yuva
Kala Bharathi* by Bharath Kalachar, Chennai
and awarded 'Ananya Puraskara" by Ananya
Culture Academy, Bangalore.

In recognition of his promising career
U.N. Giridhar Udupa is awarded the CMANA
Prize instituted by the Carnatic Music
Association of North America for a
Percussionist, in age group of 30 or less.

GS.Sriram a promising ghatam artiste and a
disciple of Late Vidwan R.A.Rajagopalan
passed away under tragic circumstances at
Gorur in the Riser NethravathL In his memory
a prize has been instituted by his mother
Vainika Vdushi Revalhi Murthy. This Prize will
be given to the 1st Prize winner in the senior
category of the annual Amruthur Janaki Animal
Memorial Percussion Competition conducted
by the Arts Centre. Chi. Raghu Bhagavat
receives the prize this year.

MULTI CL
ONSLOUGHT O

When the Government of the day during the
closing years of last century boldly made way
for Globalisation, the country was seemingly
unprepared to face the consequent onslaught.
The wave itself was so sudden, so rapid and so
over powering that it took some time for the
Government and the people to re-adjust their
priorities. There were feverish activities at
different levels of the Government to reorient its
plans and procedures so as to be in a position
to fully exploit the advantages of the emerging
situation. It was a challenge and an opportunity.
How the government and the people met it is as
curious as it is interesting. This is evident by the
way the government went about its task. Both
its export and imports expanded, adding to its
economic viability.

The state of affairs in the media, both the print
and the electronic, was not much different They
soon realized that it was time they made the
best of the promising economic efflorescence.
The print media lost no time to introduce new
sections and fly sheets, the spectrum covering
endless variety of topics. Both the English and
the language press started issuing special
sections on specific days on a variety of subjects
including health, nutrition, industry, women,
children and last but not the least, the cinema.
While the coverage went a whole hog to include
more interesting, more exciting and often more
sensational news, their advertisement revenue
shot up to set up records, thus accounting for
increase in the number of pages. All this with
no extra cost. Simultaneous editions became the
order of the day, which automatically minimized
the number of editions from a single centre,
ensuring early delivery of copies to readers.
All this meant more job opportunities both to
qualified journalists and management experts.
With the result journalism which till recently was
an ideal suddenly emerged as a profession.

... S.N. Chandrashekar

The electronic media could not afford to lag
behind, nor did it. The multi channel concept
picked up fast, thereby increasing broad/tdecast
hours. This was inevitable if it had to combat
the ubiquitous cable networks. The government
came out with a new multipurpose gadget named
Direct to Home (DTH) service, which opened
out a number of channels for TV viewers to
choose from, clubbing broadcast programmes
to boot. The most pooular among them were
the 24-hour channel for music, besides 'raga'
during prime time.

In this connection it should not be forgotten that
any innovation is fraught with as many
imponderable factors as the benefits envisioned.
To balance the budget, commercial broadcast
which till recently was confined to Vividh Bharati,
started intruding into all kind of programmes.
This intrusion was often most irritating both on
the small screen and the radio. Their timing was
verily sadistic, interrupting as it did every time
at a crucial point, cutting into the rendition of a
song or disrupting when a game of sports had
reached a climax. This certainly made one
suspect the aesthetic sense of the programmers.
Not unoften, a skeptic might even overlook the
positive factors and persist in pinpointing the
disadvantages or the incontrovertible negative
features. And how can he be blamed if his
expectations are flouted!

This multi-channel idea is one such instance.
Though its objective is laudable, certainly in
keeping with the progressive outlook of the
government, its overall usefulness can't be
construed as totally purposeful. At any rate, it
certainly can't pose a challenge to the
entrenched cable net work, even granting that
the satellite connection ensures better audial and
visual quality. True, it opens up endless choice.
But it should not be forgotten that after all what
the viewer or listener can use is a single channel,

a single programme, unless of course, like a case of Kathas and plays is no better. One may
restless youth who not sure of what he wants recall how in those halcyon days, when the TV
constantly keeps twirling the remote and shifting was yet to make its debut, one planned his

from one programme to the other, never settling listening on the basis of data provided in the

down to any particular channel. Much the same now defunct Indian listener which in the initial

happens to adults in the face of a dry serial stages provided the bill of fare. For technical

where the theme hardly moves and dilutes the reasons, the radio has perforce resorted to taped

tempo. music except perhaps in the case of national

programmes. Most of such features were
Another factor that fails to come to the purview scheduled for prime time. Yet earlier to the

of the customer who decides to go in for some onslaught of the DTH, one could opt for

spurious DTH, carried away by tfie publicity blitz, programmes from almost any centre. It now

is the fact that not all systems after all are a one- seems impossible to find a radio which can

time investment. Far from that, and this will be overcome the technical onslought of DTH to be
realized gradually, once the available number able to go beyond the local station,
of channels gets withdrawn one after another,

settling down to barely a few drab government Another welcome feature in the bygone days

sponsored channels, the entire range of news was, the AIR's constant scouting of new talent,

in all languages not excepted This is superfluous, which is as it should be. The FMs negate it, the

not only because it is inevitably repetitive, but commercial angle restricting the slots of music,

also no viewer or listener can be conversant With the result one has to be content with what

with more than two or three tongues! More they repeatedly announce as a programme of

irritating is the recurring expenditure involved film melodies, which intrudes after almost before

in some cases which will naturally make the and after every other programme! The phone-

buyer feel cheated! That is where the government in programmes are certainly very educative,

seems to have failed to make the system fool commercially auspicious too. Here again, it's a

proof! pity that invariably they are at the expense of

regular entertainers. Gone are the days when
True, the radio has lately come out with a flurry one expectantly settled down after a day's work

of FMs, the choice hore again ranging from to a harikatha, a play or a recital of classical

four to five. Much of it is dedicated to music, music. These three areas were nurtured by the

which certainly is welcome to a large number AIR which especially for Katlni was the only sure

of listeners But the fare here is shop soiled tape opening. Now there are hardly any new names

music of old masters which when repeated may heard in the art. Also, there were invariably

sound monotonous. two or three plays, extending from half an hour

to one hour a week. All these are things of the
Time was when music, drama, an occasional past. Time something is done to revive them

harikatha and some educational features besides without interfering with the popular, useful,

the non-stop sports running commentary of such educative folk, rural and technical features,

luminaries like Talyar Khan were the mainstay

of broadcasting. An early l&B Minsiter like B V All this means that the multi-channel proposition

Kesker himself a musical buff, had even gone for all practical purposes, is an onslaught. It

to the extent of asserting that classical music remains to be made auspicious. And if and when

was the main focus on the radio! Much to the such a thing happens, it can certainly be a

regret of artistes and fans of classical music, magnificent achievement, something which an

this most sacred arts has taken a back seat. The avid radio listener looks forward to.

N. Vijoy Sivo

They are like us

A few years ago D K Pattammal was people for company or long for solitude,

felicitated with an award by the Travancore We think they do nothing but practice

Royal family in the lawns of Woodlands music, visit temples, submit themselves to

Hotel in Chennai. She was showered with their gurus' instruction, get swarmed by

encomiums and accolades and given a fans always and bugged by emails, letters

warm send off. But she was reluctant to and telephone calls and that their entire

leave and dallied around with bright kith and kin treat them with love and

expectation in her eyes. Everyone stood admiration. Would you believe that most

guessing Then arrived the pack of hot idlis of these do not happen

she had ordered from the restaurant to take VocQ , mQes|ro G N Balasubramaniam

back home! Her face beamed with joy; joy , oved ghoa ( con d e nsed milk cake). His

that surpassed her happiness on receiving accompanists would twist him round their

the award and accolades! | itt | e f inger by offering him his favorite

Listening to her Sivakamasundari or sweet, and manipulate the concert song

Yendraikku sivakrupai, watching music Ibt to their convenience. D K Pattammal

and emotion pour forth from her, we could would burst into anguished cry when an

lose ourselves in the philosophic heights Indian batsman narrowly missed his

and depths of her performance and view century. The legendary Semmangudi

her as a saint or demi-goddess. But DKP Srinivasa Iyer very recently declared that

and her many illustrious counterparts who he wished to live a few more years just to

make divine music, are all human beings savor Sri Krishna sweets Mysore pa(a kind

-human to the core -each has his or her of sweet).

own delightful whims, fancies and The highly sensitive vocalist KV

idiosyncrasies. Indeed they do enjoy a truly Narayanaswamy would cajole his

divine communion with God through disciples to video play Tamil film 'Michael

music, but their human face is as real as Madanakamaraj/ to see Kamalhassan

this divinity. They like and dislike things portray the role of Kameswaran and the

and people around them, commit blunders divine M S Subbulakshmi is so possessively

and spark intelligent actions, laugh and fond Q f perfumes, she will not give them

cry over the ups and downs of life, chase eve n to her dear ones. All of them are

addicted to harmless trivial pleasures- very
much like us - a soft side to their tall
personality!

Veena virtuoso S Balachander was a lover
of theatre and drama. He didn't think
twice before barging into a version of
Macbeth being specially staged for school
kids.

The vibrant vocalist D K Jayaraman once
walked out of his house with meager
belongings proclaiming his hatred for his
wife and children and resolving never to
return. Before he reached the street corner
he turned back wishing one of his family
members would re call him. They didn't!
They stood outside the gate watching him
with a blank _expression. Hopes
shattered, he came back and later
confessed that he loved his family. Of
course his family loved him too. Such
occurrences are not uncommon in our
homes either!

The suave and sonorous vocalist M D
Ramanathan was moving every rasika to
tears at the Indian Fine Arts Society
December concert when he suddenly yelled
over the microphone, "Don't get lost!
Come here!" 'Yes, we are lost in your
music but why should you yell like this'
the audience wondered. Only later it was
understood that he was admonishing his
little foster son who was roaming around.
The kid promptly came to the stage and
started tasting the coffee from his father's

flask! Couldn't mask the love for his son
even at at the peak moment!

The soft spoken and pious M S
Subbulakshmi was heard last mid
September lashing out at somebody in
English, "Stupid! Fool!" Who did what to
her? Nobody did her any wrong. She was
cursing Osama bin Laden for what he did
to the innocent people in USA. One would
not expect such strong language from her!

Mrudangam exponent T K Murthy makes
it a point to argue with all the auto drivers
who ask for extra fare. He would chide,
when asked for 'something 'above the
meter fare, "I am myself below the meter
(in heightjand you want something above!"

All great men in music have a natural
human face to their character. Why would
God deny them this pleasure? After all,
God himself relishes aping man. Humans,
wherever and whatever they are, are not
different. Musicians are no exceptions.
They want all that a normal human would.
Otherwise why would Tyagaraja file a suit
against his brother for a piece of land; why
would Papanasam Sivan rebuke Ariyakudi
Ramanuja Iyengar for recording his
composition 'Kartikeya Gangeya' without
his prior permission; why would
Semangudi Srinivasa Iyer visit his village
for a game of cards with his old friends? -
because they are like us, very much like
us.

PERCUSSIVE ARTS CENTRE (R)

183, 8th Cross, 2nd Block, Jayanagar, Bangalore - 560 Oil, INDIA

REPORT FOR THE PERIOD 2006-2007

Palghat Mani Iyer Memorial Arts Centre The 25th Annual THAALAVAADYOTHSAV,

was founded in 1981, to promote the the Silver Jubilee Celebrations was

interests of Percussive Arts and highlight celebrated for a whole week under the

the Role of Laya in Music. This was joint auspices with and at the Bangalore

registered as “Percussive Arts Centre" in Gayana Samaja. On the Inaugural Day,

Aug 1985, as a purely non-commercial. the 28th May, 2006, the PALANI

non-profit, cultural organisation. SUBRAMANYA PILLAI AWARD donated

Members of the Arts Centre include the by Smt. Sudha Rao & Dr. A.H.Rama Rao

Founder Members, members of the of Ramasudha Charitable Trust, was

Reception and other Sub-committees. presented to Vidwan Sri. Chingleput

Programmes are being organised to Ranganathan by Sri K. Jairaj,

emphasise the ’Role of Laya and Thala’ Commissioner, Bangalore Mahanagara

in Concerts, intended to educate Palike. He also presented H.

intelligent listeners on better appreciation PUTTACHAR MEMORIAL AWARD to

of these aspects. The Focus of-all these Vidwan G.S. Ramanujam. Sri V. Srinivas,

activities culminate in the annual Director, Directorate of Kannada &

THAALAVAADYOTHSAV (Percussive Culture presented the CMANA prize for

Arts Festival cum Conference). y 0ar 2006 ,0 Vidwan G. Guruprasanna

PALGHAT MANI IYER AWARD and and a,so released the Souvenir

PALANI SUBRAMANYA PILLAI AWARD Publication. K. PUTTU RAO MEMORIAL

are the two important contents of this PALGHAT MANI IYER AWARD created

Festival-cum-conference. Veteran by Sri **-K. Murthy, President, Academy

percussionist H.P.Ramachar created the of Music * Bangalore was presented to

H. PUTTACHAR MEMORIAL AWARD Sri Manna 'gudi A. Easwaran by Sri K.

which is presented to a versatile middle- Kasturirangan. Director, National Institute

aged artist in recognition of the merit and of Advance d Studies on the 31st May,

provide recognition to that group of 2006. at the Chowdiah Memorial hall.

arl j sts He also presented the prizes of the

Amruthur Janaki Ammal music
Carnatic Music Association of North competition for Percussions (donated by

America (CMANA) came out with a M.R.Doraiswamy Iyengar). He lauded

proposal to give a Prize for a the efforts of the Arts Centre in promoting

Percussionist in age group of 30 years Percussion Art & Artists,

and below. A sum of Rs. 25,000 has The silver jubilee life time achievement

already been received from them for award, donated by Vidus/ii Anasuya

this purpose. The prize was initiated in Kulakami & Sri Narayana 'Kulkarni was

the year 2003 and is being continued. presented to Dr. R.K. Srikantan on the

4th June, 2006 the valedictory function
of the Thaalaavadyotsav by Sri M.P.
Prakash MLA, Former Deputy Chief
Minister of Karnataka. Proff. B.K.
Chandrashekar MLC, Former Minister for
Education & IT, GOK was the Chief
Guest. Mahamahopadhyaya Dr. R.
Sathyanarayana, Renowned Musicologist
delivered the valedictory address.

Programmes were conducted under the
Talent Promotion Scheme and Inter State
Cultural Exchange for Classical
musicians. The YOUTH FORUM of the
Arts Centre organised, listening Sessions
- with Veena Pani Centre for Arts. Study
circles, Krishnothsava, Children’s Day
programmes, including the Amruthur
Janaki Ammal Memorial Competition for
Percussions (donated by

M.R.Doraiswamy Iyengar, President)
were conducted. The Percussion
competition was co-sponsored by the
Rotary Club of Bangalore.

Details of all the programmes conducted
during the Year are furnished separately.

The special projects undertaken this year
included (1) Percussion Ensemble of
the Arts Centre - Harmony with Melodic
and Rhythmic Structures" and “Rhythmic
innovations for Percussion Ensembles"
presented at various places, of
Percussions under assistance of
Department of Kannada & Culture. G O
K (2) Thaalavadhya Seminar-12 on
Arithmetics on Thaalavadhya under
financial assistance from Sangeet Natak
Akademi, New Delhi.

Video Documentaries of eminent artists
have already been on our anvil.
Veterans Thitte Krishna Iyengar,
R.K.Srikantan, Dr. V. Doreswamy
Iyengar, Anoor S. Ramakrishna and
veteran violin maestro R.R.
Keshavamurthy A.V. Anand have so far
been covered. The Arts Centre has also
been publishing a quarterly newsletter
originally called PERCUSSIVE ART later
renamed as THAALAVADYA for the last
17 years. After the untimely demise of
Founder Director Bangalore K.
Venkataram who was the Chief Editor of
the Newsletter we requested Sri N.S.
Krishnamurthy, former Director of All
India Radio, to write the Editorial. He
has been writing editorials in his
inimitable and forthright manner and they
have been recieved well. Sangeet Natak
Akademi. New Delhi, Dept, of Culture -
Govt, of India, Directorate of Kannada &
Culture -Govt, of Karnataka, have helped
us with their grants-in-aid. Dr. Sridevi &
Dr. H.K. Chandrasekhar of USA have
helped with their Endowment for the
"H.C.K. Bhatta Memorial” programmes,
some of which have already been
brought as Monographs. Dr. Anasuya
Kulkarni & Sri N.R.Kulkarni have been
assisting in meeting the printing
expenses of our publications and also
patronising the Arts Centre's annual
festivals. Proceedings of the
Thaalavadya Seminars 5,6 & 7 have
already been published and documented
for preservation. Proceedings of
Seminars 8. 9, 10, 1 1 & 12 will be brought
about shortly.

Endowments instituted earlier so far, are
Ghatam K.S.Manjunathan Memorial

Endt. (M. Vishnu), Thylambal G.
Krishnaswamy Endt (G.R.Jaya), Usha
Char Endowment (since enhanced to Rs.
22,000, this year), M.S.Sheela &
B.K.Ramaswamy Endt.. B.S.Somanath
Endt, Meena Nagarajan Memorial Endt
(Dr. N. Nagarajan & Lakshmi, USA),
Rukmini Sreeram Memorial Endt -
Rukmini Charities (since enhanced to Rs.
20,000), Morching L. Bhimachar Endt
(B.Dhruvaraj & B.Rajashekhar),
Nagamma & A. Venkobachar Memorial
Endt. (A.V.Anand), R.K.Srikantan Endt
(for an Academic event in the
Thaalavaadyothsav). Bangalore
K.Venkataram Shashtipoorthy Endt.
Anoor S. Ramakrishna. Shashtipoorthy
Endt & C. Narasinga Rao & Srinivasa
Rao Memorial Endt (N.Gurudutt & family)
are the other endowments. Salem
Vijayaraghavachariar Endt (V.Krishnan),
M. Krishnaswamy memorial Endt
(Parvathy Krishnaswamy), Ganakala
Bhushana Anoor S. Ramakrishna
Memorial Endt (Anoor R Ananthakrishna
Sharma), G.V. Rangaswamy Memorial
Endt (P.S.Seethamma), are the
Endowments for Krishnothsava.
Rukmini Charities and Sangeetha Kalaa
Sevamani, Ganakala Bhushana
R.K.Padmanabha have been donating for
programmes in this Series. We
remember with gratitude the support Late
Sri U.D.N. Rao, our Patron-in-chief who
was actively associating himself with all
our activities. Nalini Rao and family have
created an Endt with U.D.N. Rao’s sister
R.N. Yamuna Devi (daughter of
U.D.Narayana Murthy, retired Sessions

Judge and himself a connoisseur and a
conservative music critic).

A major financial problem arose a few
years back with certain establishments
like Karnataka Power Corporation (KPC)
deciding not to renew the Fixed Deposits
and having returned the Deposit amounts
for not being able to the give Annual
Interests stipulated earlier. Our
investments at UTI underwent heavy
setbacks in the dividend-incomes. Under
these circumstances, we have been
compelled to request the Endowment
Donors to increase their Endowment
amounts, and also constrained to club
2. 3 or more Endowments together to
meet the expenses which are steadily
going up. Auditorium rentals,
conveyance, boarding & lodging, printing
& postage and the resultant increase in
Honoraria to artists, are causing anxiety.

Sri Jayarama Seva Mandali, Jayanagar,
Bnagalore. Ayyanar College of Music,
Malleswaram Sangeetha Sabha. Indian
Institute of World Culture, Veena Pani
Centre for Arts, Ananya GML Cultural
Academy. Bangalore Gayana Samaja,
Samaja Seva Sangha. Gokhale Institute
of Public Affairs- N.R. Colony, have
helped us in co-sponsoring our
programmes. Canara Bank helped us
in a big way by coming forward to be
the major sponsor of our 25th
Thaalavaadyotsava 2006. Several
organisations like MICO. M/s. McDowell
& Co. Ltd.. M/s. State Bank of Mysore,
Bangalore and connoisseurs like V.
Krishnan, Former General Manager.

MICO, B.S. Iyer, Company Secretary,
MICO, S. D. Shibulal, Bangalore, PS.
Ramesh, Measurements & Controls India
Pvt. Ltd., V. Krishnan, Sri
Parthasarathy Swamy Sabha, D.R.
Srikantiah, M/s Associated Trading
Corporation, G.S.D. Sharma, NSVK
Institutions, Dr. K.R. Gururaja Rao, Col.
H.S. Shankar Radhika and Sri Raj
Narayan. Y.G. Madhusudan, Managing
Director, Yadalam Group, M/s. Food
Karnataka Limited, Kuppuswamy,
Chamundeshwari Studios, Veena
Shankar, Domlur have assisted us
through their valuable contributions and
donations. We wish to convey our
gratitude to all of them. M.R. Doraiswamy
Iyengar, our President, has been a pillar
of strength and has been guiding us in
all our activities. Sangeetha Kalanidhi Dr.
R.K. Srikantan is the Chairman of our
Advisory Council. We convey our
gratitude to the Chairman, Convenors
and Members of the various Committees,
who have extended their support. We
hope their support and co-operation will
continue in all our future endeavours in
the cause of promotion of percussive
arts.

A Website has been created for the Art
Centre and may be accessed at
www.percussiveartscentre.org. The
Newsletter of the Arts Centre is also
uploaded on to the website for global
access. We have received critical acclaim
from our friends in other countries and
this has really given us a shot in the arm
to seek higher goals.

The valedictory of the Silver Jubilee
Celebrations of the Arts Centre was
celebrated on the 1 8th of March, 2007.
Sri N.S. Krishna Murthy delivered the
valedictory address of the celebrations
which was followed by an vocal recital
by Sri Rudrapatnam brothers Taranathan
& Thyagarajan accompanied by
H.K. Venkatram on the violin, Palghat
Rajamani on the mridangam and
Guruprasanna on the khanjari.

The Arts Centre has been recognised
all over the country and abroad not only
for the type of programmes conducted
but also for the numerous publications it
has brought, which possess priceless
material which have been thus preserved
for posterity. The Arts Centre, which has
already carved a niche for itself, should
scale greater heights and become an
organisation where great souls are
constantly involved and great music
pervades all the time. All the novel
initiatives undertaken will be continued
to source and preserve all material with
regard to percussion art forms across
the world, for posterity.

for BOARD OF MANAGEMENT
V. KRISHNA
Executive Director

Phone : 080-26550452

PERCUSSIVE ARTS CENTRE (R)

183, 8th Cross, 2nd Block, Jayanagar, Bangalore - 560 Oil, INDIA

PROGRAMMES CONDUCTED DURING THE YEAR 2006 - 2007

Saturday At 6.30 pm under joint auspices with and at Sree Jayarama Seva 8

8-04-2006 Mandali, 8 th Block, Jayanagar, Bangalore - C.Narasinga Rao and
R.Sreenivasa Rao Memorial concerts (Courtesy: Sri N.Gurudutt 8c
family and Smt Sarswathamma 8c family) - Dr. R.N.Srilatha (vocal),
Mathur Sreenidhi (violin), B.K.Chandramouli (mridanga),

A. Somashekar (ghata)

THAALAVADYOTHSAVA 2006 - 25th ANNUAL PERCUSSIVE ARTS
FESTIVAL CUM CONFERENCE

From 28 ,h May to 30” May 2006 and 1* June to 4” June 2006 under joint auspices

with and at BANGALORE GAYANA SAMAJA, K.R.Road, Bangalore 560004 and

ACADEMY OF MUSIC (Chowdiah Memorial Hall), Bangalore on 31 y May 2006

Sunday At Bangalore Gayana Samaja 5.00 pm: Inauguration and

28- 5-2006 Presentation of Awards: Palani Subramanya Pillai Award (Courtesy:

Sudha R.Rao 8c Dr.A.H.Rama Rao) and title Laya Kala Nipuna to
Vidwan Chingleput Ranganathan H.Puttachar Award (Courtesy:
Khanjari Kala Shiromani H.P.Ramachar) and title Laya Kala Prathibha
Mani to Vidwan G.S.Ramanujam CMANA Prize (Courtesy: Carnatic
Music Association of North America) to Vidwan G.Guruprasanna
7.00 pm: Special Silver Jubilee Percussion Ensemble of 25 percussion
instruments directed by Vidwan Anoor Ananthakrishna Sharma

Monday At Bangalore Gayana Samaja 5.30 pm: Vocal Recital by Vidwan

29- 5-2006 Chingleput Ranganathan - Mysore Dayakara - N.G. Ravi -B.R.Ravikumar

7.30 pm: Special Laya Vinyasa by Guru Kaaraikudi R.Mani - V.Suresh

- N.Amrit

At Bangalore Gayana Samaja 5.30 pm: Laya Vinyasa by T.S.Chandrashekar

- A.S.N.Swamy 6.30 pm: Vocal Recital by Dr. R.K.Srikantan -
R.S.Ramakantha - Charulatha Ramanujam - T.A.S.Mani -
H.P.Ramachar - R.A.Rajagopalan

Tuesday

30-5-2006

Wednesday At CHOWDIAH MEMORIAL HALL, Bangalore 6.00 pm: Presentation
31-5-2006 of K.Puttu Rao Memorial Palghat Mani Iyer Award (Courtesy:
K.K.Murthy, President Academy of Music, Bangalore) and title
Mridanga Kala Shiromani to Vidwan Mannargudi Easwaran followed
by prize distribution to winners of Amruthur Janaki Ammal Memorial
Percussion Competition (Courtesy: M.R.Doraiswamy Iyengar,
President, Arts Centre) 7.30 pm: Flute recital by Dr.N.Ramani -
S.Seshagiri Rao - Mannargudi Easwaran -B.Rajashekar - B.S.Purushotham
Thursday At Bangalore Gayana Samaja 5.30 pm: Laya Vinyasa by Tala

1- 6-2006 Tarangini - percussion ensemble of Karnataka College of Percussion

6.30 pm: Vocal recital by Vidushi Dr. T.S.Sathyavathy - B.Raghuram

- C.Cheluvaraj - M.A.Krishnamurthy - B.K.Chandramouli

Friday At Bangalore Gayana Samaja 5.30 pm: 'Gong - the multi faceted

2- 6-2006 instrument' - a lecture demonstration by Dr. H.S. Anasuya Kulkarni

6.00 pm Konagolu laya vinyasa by Vidushi Sarah Gueghi 6.30 pm:
Vocal recital by Vidwan Sanjay Subrahmanyam - H.K.Venkataram -
Anoor Ananthakrishna Sharma - G.S.Ramanujam - G.Guruprasanna

Saturday At Bangalore Gayana Samaja 5.30 pm: Laya Vinyasa by M.T.Rajakesari

3- 6-2006 - B.N.Chandramouli 6.30 pm: Chitravina recital by Vidwan V.Ravikiran

- Nalina Mohan - A.V.Anand - C.P.Vyasa Vittala - Giridhar Udupa

Sunday At Bangalore Gayana Samaja 10.00 am: Valedictory session and

4- 6-2006 presentation of Silver Jubilee Lifetime Achievement Award to Vidwan

Dr.R.K.Srikantan 5.00 pm: Laya Vinyasa by LAYA LAHARI -
percussion ensemble of Ayyanar College of Music 6.30 pm: Vocal
recital by Vidushi M.S.Sheela - C.N.Chandrashekar - H.S.Sudhindra

- Sukanya Ramagopal - S.V.Balakrishna

KRISHNOTHSAVA : 17th to 21st August 2006

From 6.30 p.m. under joint auspices with and at
SRI JAYARAMA SEVA MANDALI

Thursday At 6.30 pm : Inauguration, Followed By Parvathy Krishnaswamy
17-8-2006 Memorial Endowment Program Salem Vijayaraghavachariar Memorial
Endowment Program (Courtesy: V.krishnan)

Jayanthi Kumaresh - veena, Arjun Kumar - mridangam, S.Srishyla

- ghata

Friday At 6.30 Pm : Ganakala Bhushana R.K. Padmanabha Endowment

18- 8-2006 Program, 'Nandalala Philosophy' Endowment Dr. Sreejayanthi

Memorial Program (Courtesy: Smt. Ramadevi Ramanujam)

K.V.Krishnaprasad & S.R.Vinay- vocal duet, Aditi - violin, B.S.Anand

- mridanga, Phanindra Bhaskara - ghata

Saturday At 6.30 Pm : 'Nandalala Philosophy 7 Endowment Dr.Masti Venkatesha

19- 8-2006 Iyengar & Pankajamma Memorial Program (Courtesy: Smt.

Ramadevi Ramanujam) Vignaraja S.S. - vocal, B.K. Raghu - violin,
N.Vasudev - mridanga, Karthik - khanjari

Sunday At 6.00 pm : SHRADDANJALI to Khanjari Kala Shirvmani Vidwan

20- 8-2006 H.P.Ramachar & Ghatam Artiste Sri G.S.Sriram.

Sri P.G.Srinivasamurthy (Well Known Art Critic) will speak. Presentation
of Excerpts of Audio Recordings of Vidwan H.P.Ramachar, followed
by Anoor S. Ramakrishna Memorial Program (Courtesy: Anoor
Ananthakrishna Sharma) Fayaz Khan - hindustani vocal, Ravindra
Katoti - harmonium, Udayraj Karpur - tabla

Monday At 6.30 Pm : P.S.Seethamma & G.R.Ramachandra Memorial Program

21- 8-2006 (Courtesy: G.R.Doreswamy) Rukmini Sreeram Memorial Program

(Courtesy: Rukmini Charities) Harini & Sharada - vocal duet, J.K.Sridhar

- violin, Renukaprasad - mridanga, Tumkur B. Shashishankar - ghata

Saturday AT Sri Ayyanar College Of Music, 4th Block, Jayanagar, at 6.30

23-9-2006 pm, M.S.Sheela - B.K. Ramaswamy Endowment Program &

B.S.Somanath Endowment Program Hamsini Nagendra (vocal),
Veena Suresh (violin), B. Dhruvaraj (mridanga), G. Omkar (ghata)

CHILDREN'S FESTIVAL - 2006

18th and 19th November 2006 under joint auspices with and at
Sri Jayarama Seva Mandali

Saturday L.Bheemachar Endowment Program 6.30pm - Invocation - Samhita
18.11.2006 and Sindhuri (Disciples of Naadabindu group) - Vocal, Akshay- (Violin)
Venkataramana Puranik - (Mridanga) 6.45pm - Laya Vinyasa by
students of Guru Smruthi Kala Kendra Directed by Vidwan
P.Sreenivasamurthy, R.Rakesh (Mridangam), Chandan Y -(Chande),
Vivek K - (Morching), S.Pradyumna - (Dholak), Nakul Araga -(Tabla),
Vinod Shyam A. - (Nagara), Akilesh (Konakkol) 7.15pm - Shilpa
K.Murthy & Abhinandini K -(Vocal Duet), Aditya - (Violin),
G.Lakshminarayana - (Mridanga) 8.00pm - Laya Vinyasa - Raghu
Bhagavat & Venkataramana Puranik - (Mridanga Duet) by Disciples

of Mridanga Kala Shiromani Vidwan A.V. Anand 8.15pm - Subramanya
Shastry - (Flute), Aditya - (Violin), Raghu Bhagavat - (Mridanga)

Sunday Anoor S.Ramakrishna Shatyabdhipoorthi Endowment Program

19.11.2006 6.00pm - Master Shashank.C. - (Mridanga Solo) 6.10pm - K.Aparna,

A. Anushree & Aprameya - (Vocal), Vittal Rangan - (Violin),
Venkataramana Purnik - (Mridanga) 6.45pm - Laya Vinyasa by
Junior Students of Laya Milana percussion Ensemble of Sri
Mookambika Thalavadya Kala Shaale Directed by Karnataka
Kalashree Vidwan B.K. Chandramouli V.Karthik (Shadja Maridanga),
G.S. Ashwathanarayana Rao - (Khanjari), M.R.Purushotam -
(Ghata), S.Sudheendra -(Panchama Dholak), Amrit Kumar N. -
(Morching), V.Sreedhara - (Shadja Mridanga), R.Sreeganesh - (Top
Shadja Mridanga & Konagolu) 7.15pm - Vittal Rangan - (Violin Solo),
Prashanth - (Mridanga), Karthik Vydhathri - (Morching) 8.00pm -

B. N.Gayathri - (Vocal), Vittal Rangan - (Violin), Prashanth -
(Mridanga), Karthik Vydhathri - (Morching)

Sunday Veena Venkatasubbaiah Memorial Program under joint auspices with

17.12.2006 Sree Malleshwaram Sangeetha Sabha at Sri Jayarama Seva
Mandali, 8 ;n block, Jayanagar, B'lore at 6.30 pm, D.Balakrishna -
(Veena), Anoor Dattatreya Sharma - (mridanga), Raghavendra
Prakash -(Ghata).

Sunday Amruthur Janaki Ammal Memorial Percussion Competition (Courtesy

24. 12.2006 Amruthur Janaki Ammal Memorial Trust)

Saturday Under joint auspices with and at Sri Jayarama Seva Mandali

20.1.2007 Justice Sri Nittoor Sreenivasa Rau & Smt. Padmamma Sreenivasa
Rau Memorial Endowment Programme and Sangeetha Kalarathna
Bangalore K. Venkataram Shashtiabdhipoorthi Endowment
Programme - Special concert of H. Yoganarasimham compositions
- S. Shankar (vocal), Venkatesh Josier (violin), M.A. Krishnamurthy
(mridangam), B.R. Ravi Kumar (ghata).

Saturday Under joint auspices with and at The Indian Institute of World

17.2.2007 Culture, Rukmini Sreeram Memorial Programme (Courtesy :
Rukmini Charities) - Kanchana Ranjani Sisters, Shriranjani and
Sruthiranjani(vocal), Mysore R. Dayakara (violin), N.G. Ravi
(mridangam), R.Ramesh (ghata).

Sunday Under joint auspices with and at M.E.S. KALAVEDl, Seminar 12

18.3.2007 On Thalavadyas - ’Arithmetics on Thalaavadya9' :

(Courtesy : Sangeet Natak Academy, New Delhi) 8i
Valedictory of Percussive Arts Centre's Silver -Jubilee.

25TH THAALAVAADYOTSAV - 2006

A RE'VIEW

Sri K. Joiraj, Commissioner, Bangalore Mahanugara Palike
inaugurates Thaalavadyotsav 2006

Sri V Srinivasa, Director Directorate of Kannada & Culture
releases the Souvenir Publication of the Arts Centre

Dr R.K. Srikontcin receives the Silver Jubilee Life time Achivement Award
from Sri M.P Prakash, Deputy Chief Minister of Karnataka

Sri Chingleput Ranganathan

receives the Palani Subramanya Pillai Award from Sri K. Jairaj

HAALAVAADYOTH

\focol concert by Chingleput Rangonathan
R. Doyakar (violin), N.G. Ravi (mridangam), B.R Ravikumor (ghatam).

Special Laya Vinyasa by Guru Karaikkudi R. Mani on the mridangam with
Y Suresh (ghatam), N. Amrit(khanjari), M.T Rajakesari (tala support)

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Laya Vinyasa by TS. Chandrashekar (mridangam)
A.S.N. Swamy (khanjari), B.C. Manjunath (tala support)

Nfccal concert by Dr R.K Srikantan, R.S. Ramakanth (vocal support),
Charulatha Ramanujam (violin), TA.S. Mani (mridangam). H.P Ramachar (khanjari)

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Flute recital by Dc N. Romani

S. Sesbagiri Rao (violin), Mannargudi A. Eoswaran {mridar.gam),
B.S. Purushotham (khanjori), B Rajasbekar (morching)

Karnataka College of Percussion presents laya vinyasa '"bio brang

Vbcal concert by Dr. T.S. Sathyavathi

B. Raghuram (violin), C. Cheluvaraju (mridongam), B.K. Chondromouli (khanjari)

Konagolu laya vinyasa by Sarah Bueghi

iAN6EETHA KALANIOHI R. K SRIKANTATl

ENDOWMENT PROGRAMME

Lecture demonstration by Dr. H.S. Anasuya Kulkarni on Gong - 'the multi faceted instrument'

Vxal concert by Sanjay Subramanycm
H.K \fenkatram (violin}, Anoor Ananthakrishna Sbarma (mridangom),

G. Guruprasanna (khonjari), G.S. Ramanujam (ghatam}, H. Geetha (tambura)

Percussion ensemble of Ayyanar College of Musk 'laya Lahari' presents laya vinyasa

Vfocal concert by M.S. Sheela

C.N. Chandrashekar (violin), H.S. Sudhindra (mridangam),
Sukanyo Romagopal (ghatam), S.V Balakrishna (morching)

ABOUT OUR ACTIVITIES

This Art Centre was founded with the twin
objectives of (a) Perpetuating the haloed
memory of maestro non-pareil of
mridangam art, Palghat T.S. Mani Iyer and
(b) Promotion of dissemination of greater
awareness among laymen and scholars alike
of the knowledge of finer aspects of
Percussive Arts.

It was inaugurated as “Palghat Mani Iyer
Memorial Art centre" on the Vijayadasami in
1981 by Late S.Y. Krishnaswamy, IAS, a
devoted admirer, connoisseur, an critic and
an authority on Palghat Maui’s multi-
dimensional eloquence. This is the First Music
Centre established to commemorate the
invaluable services of Palghat Mani Iyer to
Music. In his inaugural address, S.Y.
Krishnaswamy observed and hoped that, “If
this new venture should enable the audience
to understand what the Mrudangam Vidwan
is doing, with greater interest and greater
knowledge than everbefore, then this Centre
would have served a very useful purpose".
The necessity for forming an exclusive
organisation for promotion of the interests
in the intricacies of Layt and Taala had been
long felt. It was thought fit to name this
Centre after the maestro Palghat Mani Iyer,
considering the contribution of this great artist
in elevating the status of percussion
accompanists in general. Palghat Mani is
mostly responsible for the recognition and
the present uniform remuneration of similarly
graded artistes in mass-media like Akashvani
and Doordarshan.

This Art Centre was registered in August 1983
as Percussive Arts Centre (Palghat Mani Iyer
memorial Arts Centre) with a wider

perspective of achieving the objects set forth.

GETHU VAADYA, the ancient stringed
percussion instrument was introduced in a
Percussion Ensemble for the first time. Several
Temple and Folk- Stick-instruments like
SAMMELA, CHANDE, CHOWDIKE
were introduced, in addition to TABLA
TARANG to provide melody besides
Rhythm. New concepts and compositional
forms are being tried. All these have paved
a fresh approach to the concept of Laya.
The international Mini Drum Festival
organised with die Indian Council for Cultural
Relations of Central Government for die first
time in Bangalore provided a new' dimension
in the appreciation of Percussive Arts.
Percussion Ensemble of the Art Centre has
drawn appreciation for its fresh innovative
concepts and new presentations.

The Centre has been organising
“Thaalavaadyotsavas”, the Percussive Arts
Festival cum Conference as an annual feature.
A project of Talent Promotion has been taken
up. Youth Forum of the Art Centre has been
doing some praise-worthy work in the
promotion of awareness among young artists.
Inter State Cultural Exchange of classical
musicians has also been taken up.

During the annual H LVUAVAADYOU EAV
(Percussive Arts Itsrival cum Conference) Life
Tune Acliievement Awards are presented to
eminent artists. These are PALGHAT MANI
IYER AWARD and PALANI
SUBRAMANYA PILLAI AWARD. Veteran
percussionist H.PRamachar created the H.
PUTTACHAR MEMORIAL AWARD
which is presented to a versatile middle-aged
artist in recognition of merit and provide

recognition to that group of artists. The
Carnatic Music Association of North America
(CMANA) have come forward to institute
an Endowment for a Prize to be given to a
percussionist aged 30 or below. This is being
effected from the year 2003.

This year the Arts Centre has instituted the
Sangeetha Kalarathna BANGALORE
K.VENKATARAM MEMORIAL AWARD
in the name of its Founder. All persons connected
with Indian Classical Music - musicians,
musicologists, art critics and others (of age 70
years and above) who have served the cause of
Indian Clascal Music with distinction for several
decades, will be considered for this Lifetime
Achievement Award in memory of Sri
Bangalore K. Venkataram.

Since its inception despite several financial
constraints, the Centre has managed to bring
out several publications.

Dr. Sreedevi and Dr. H.K. Chandrasekhar
of USA, have created an endowment to
organise the HCK Bhatta memorial
Programmes, some of which have already
been released as monographs. 'Hie Centre
has conducted several Lecture-
Demonstrations, Study Grcles and Seminars
on topics related to Laya, Thaala and
Percussive Arts, by acknowledged scholars
and outstanding exponents. These have been
received well by the erudite and the laymen
alike. Several concerts are also being organised
to supplement these activities. The Centre has
undertaken several projects and the
SEMINARS on TALA VADYAS participated
by artists from several States have been
acclaimed a unique success. Our Quarterly
Newsletter (earlier PERCUSSIVE ART)
“THAALA VADYA” is a medium through

which our activities are published.
Documenting the services of eminent artistes
has been taken up and some artistes have
already been covered. Ramasudha Charities
have been sponsoring this item.

The maintenance grant of the Govt, of
Karnataka has infused a confidence in us to
enlarge the academic contents of our activities
and we have successfully conducted Study
Circles, Seminars, Lecture Demonstrations etc.
Govt, of India, Sangeet Natak Akademi, New
Delhi have been very kind in assisting the
Genre with their grants. The State Govt, have
supported with their grants. We are deeply
obliged to all these bodies. Our sponsors
and advertisers have kept our spirits Hying
and have supported our efforts very nobly.
W? express our thanks to them all. Our
Director, V. Krishnan, has been our perennial
support in augmenting our finances. Wr have
the guidance of our President
MR. Doraiswamy Iyengar in all our activities.
Members of our various committees extend
support in all our endeavours. Advertisers,
Donors and Sponsors have been extending
their cooperation. With the support of these
connoisseurs, we hope to do better. We
convey our gratitude to all our previous
office-bearers for their invaluable help and
support. We seek the continued patronage
of all our benefactors in our future
endeavours in a like manner to enable further
contributing our mite in future years as well.

W? thank all those who have directly and
indirectly been associated with us and have
helped us in our efforts in the cause of
promotion of Percussive Arts.

V. Krishna
Executive Director

PERCUSSION ENSEMBLE OF
THE PERCUSSIVE ARTS CENTRE

This is a non-theotric group involving
percussion instruments. Till recently,
percussions were considered only for their
supportive role, and only recently, it is
recognised that percussions have an
independent identity of their own, as in
western Ensembles.

Percussion Ensemble of the Percussive Arts
Centre has so far presented several innovative
attempts. “Laya Vrushti” an audio cassette
had attempted to reveal the potentialities of
the different instruments & stimulate
exploration of new dimensions in percussion
music. This innovation attempted to establish
a step towards the identification of the
independent personality of the different
instruments. This had been released by
“Sangeetha" Master Recording Company,
Madras.

The present attempt is to establish a
“Harmony with melodic and rhythmic
structures in Percussion Ensemble" with
Karnatak Classical Music. Whenever a Varna
or Kritlii is rendered (in vocal or instrumental
recitals), the percussionsts support them
individually and collectively playing free-hand
extempore depending on their individual
manodharma. When two or more
percussionists play together, especially in an
Ensemble, while the different percussionists
play to their own manodharma, there can
not be a uniform content in their play. When
the audio aspect of this is examined, there is
a lot of overlapping in their combined effort.
To avoid this and to produce a combined
concerted out-put of all the different
percussions, an attempt has not now been
made for the first time, to plan and notate
the percussion themes to suit and support
the “Kalpitha Sangeetha” (Composed music).

The established classical masterpiece.thye Ana
'Ihala Bhairavi Varna, the Navaraagamalika
Varna and the noted Krithi “Gam Ganapatlii”
in Hamsadhwani set to thisra nadai Adi have
been selected for this novel experimentation.
A Pallavi in Bhairavi in Misra Triputa, a Pallavi
in Janaranjani in Adi- 2 Kalai with / c-duppu,
have been planned. Notated themes have been
directed and rehearsed individually &
collectively by all the percussionists. Then they
are rehearsed with the vocals and a “harmony
of these melodic patterns of kalpitha
Sangeetha (composed music) is attempted
with the planned-rehearsed-rhythmic
structures.”

Some of the Extracts of observations
of noted scholars and musicians : -
1. Music Education Trust - Delhi
(Madras Chapter)

The participants in the Ensemble are all
liighly accomplished performers in their
own right, but die perfect co-ordination
with which they presented the
programme was something unique and
exemplary. It was not a mere Tani but
a percussion performance of absorbing
interest. The quality of the programme
can be judged by the fact that many
listeners have asked for a repeat of the
performance. Wfe will surely arrange the
programme again not only at Madras
but also at Delhi and other Centres. May
Lord Almighty bless you with long life
and good health and enable you continue
>ou are laudable service in the cause of
music

Prof. T.R. SUBRAMANYAM
Cj3

1 Ganakala Bhushana
M.R. Doraswamy

“Harmony with Melodic & Rhythmic
structures” - As observed rightly by the
veteran percussionist Vidwan Guruvayur
Dore, this is a novel attempt and has to
be presented all over India. The Plan
of a notation system of “Sols” drawn
to match the vamam and the Chitta
Swaras of “Gam Ganapathe” for
percussionists in an ensemble is worth
emulating. While the individuality of
each artist will appear curtailed, when
several such Thaalavadyaas are played
in tandom together, such an artistic
restriction is very welcome to present a
uniform planned Rhythmic structure to
match the melodic patterns of the
presentation. The ensemble included
Vocals, Mrudangas, Ghata, Khanjari,
Konagolu and Rhythm Pad. I wish the
attempt all success and congratulate all
the participants and especially Shivu, the
guide. The Art Centre lias achieved one
more, out of its several goals.

M. R. DORASWAMY

3. Prof. & Head of Dept, of Music,
Madras University,

I was struck by your proposed attempt
to establish a “Harmony with melodic
and rhythmic structures in Percussion
Ensemble”.It is a very good venture. I
have always felt bad about the very
informal and ad-hoc way of presenting
songs in a concert with the laya-vadya
performers not quite determined about
how they are going to accompany. In

most cases what is going to be played
is the outcome of an on-the-spot
decision or something impulsive, which
many would describe as being
‘spontaneous and inspired’. Only a very
senior and experienced vidwan or a
prodigy is able to come up with a great
performance rendered spontaneously In
greater number of occasions it is
cacophony dian symphony Since concert
presentation with active participation by
laya-vadya-s lias come to stay (unlike as
in Hindustani where in die Khayala and
instrumental tradition, die tabia is giving
only thekaof the tala during melodic
structuring; and as in the case of
Narayanasami Appa we hear about his
having played only sarvalaghu on the
mrudangam irrespective of the gatior
rhythmic pattern of the melodic
structure), your attempt Is really laudable.
I am sure a day will come when our
vaggeyakara-s, like Beethoven and
Mozart, will be able write the notation
of their songs for all the parts, melodic
and rhythmic in a manner they conceive
of their presentation in a concert.

Dr. N. RAMANATHAN

A. Laya Kalaa Nipuna Prof
T.R.Subramanyam of Delhi Music
Education Trust

Rhythm, that is, Layam is a great
component of the greatest system of
music in the \Xbrld, ie, Kamatak music.
I enquired in the various parts of their
world whenever I happened to visit
those countries and I found out that
there is only one organisation in the
world that is dedicated itself to Laya,

tills rhythm, that is the Percussive Arts
Centre of Bangalore. The Percussive
Arts Centre of Bangalore has produced
this Ensemble which is so educative and
entertaining and at a time when there is
a wide spread complaint that people
go to the canteens, when there is Thani.
Here, it is not at all so. It started with
Thani: here, people came for Thani and
every year Sangeetha Sevaniratha
Bangalore Venkataram (who is the
proud father of this mrudanga vidwan
and that Vocalist) is running this
Organisation.

5. Sangeetha Kalacharya S. Rajam
(Translated from remarks made in
Tamil)

Fusion, Fusion they say This is fusion,
hi this, at first Bhairavi vamam - this is
a known vamam. A combination in
the known vamam. All the instruments
with their individual level without
exceeding, as our Venkataram said,
played sustained, Very much all were
very happy. Very good Kaala
pramaanain. As Sanjay stated , it was
well spread over3, 5, 7 & 9, along
with this, mixing with melody, in the
second item sung and played, very
high class. One melody mathra along
with rhyahm patterns of 3, 4, 5, 7 &9
in small phrases - one of our existing
great violin genius is reminded. Lalgudi.
He will do small bits like this. VCfe have
to definitely state this with great pride.
They sang beautifully', the Voice well
controlled and sustained. Anoor
Ananthakrishna Sharma has done this
beautifully'. Swara patterns are very
good. I must congratulate. They should

present programmes like this often,
varshaa varsham (every year) with
different motiffs.

6. Mrudanga Kalaashiromani Vocal
maestro Te. Ve. Gopalkrishnan of
Academy of Indian Music & Arts

(Translated from remarks made in
Tamil)

What can I say after this exhilarating
performance? Basically', supposed to
be Lava oriented, but so much of
intellectual and aesthetic activity has gone
on the stage this evening that I don’t
have enough words to explain. Beauty
in every thing. That is important.
Whether it is Vocal, whether it is
Thaalavadya, Layavaadya, sollu, way of
handling the vaadytas, all Beauty. This
is a very important aspect in Shivu.
Today, that is not being found. What
a beauty in Laya alone? Today, from
the beginning, from tlte Varnam, till this
Thillana , to what extent concentration
of mind and feeling. Concentration
only is not sufficient. What is done
will not be In that, bhava will not be
there. When you concentrate , bhava
will not lx? there. I Iere, it was very'
different. Unarchyode, Unarvode,
and a ellaa unarvode, ragabhavatthode,
lay'abhavatthode, Odaame, izhukkaaame,
aana adule adirchi padaame romba
nanna azhaga inda isai nigazzhi
engalukku amainthu kodutthirukkaanga.

These programmes have been
presented before invited audiences at
different cities & venues.

PARTICIPANTS OF THE
ENSEMBLE 2006-2007 :

CASSETTES RELEASED

JANAPADA VAIBHAVA
(Grandeur of Folk Percussion)

The ensemble highlights the beauty and
diversity of folk percussions of India. The
presentation orchestrates and choreographes
to bring out the individual and group identity
of each of the percussions. The instruments
will be played individually and in select groups
with flute providing the melodic base at
significant portions. The result will be a
breathtaking fusion of melody and rhythm,
of aesthetics and captivating percussion
mathematics.

The ensemble is directed by versatile
percussionist ANOOR ANANTIIA-
KRISHNA SHARMA and presented by
V. KRISHNA Director, Percussive Arts
Centre. The performing artistes are: •

Anoor Ananthakrishna Sharma, V.Krishna,
Prakash Sontakke, Pranesh M.K.,
Guniprasanna, Madhusudan, Pramath Kiran
and Jagadeesh.

The folk percussions presented include: -
Nagaari, Nakaara, Khanjari, Tamate, Khol,
Dholak, Base Dholak, Doilu, Pambai,
Pakhawaj, Tabla, Taala, Gejje, Kamsaale, Dikki
Tarang, Udukkai, Chande - Mangalore style,
Chande - Kerala style, Ghat a Singaari, Sticks,
Morching, Dholki, and other small
percussions.

The artistes conditioned mainly to classical
music are attempting to look beyond into
new rhythmic areas and innovations-
advcniures. This earnestness has to match with
proper thought and planning and also create
an awareness into the potentialities and also
limitations of the different instruments.
Future attempts include innovations into
electronic instruments and computerised
music etc.

LAYA VRUSHTI

'Laya Vrushti’, which means a shower of
rhythm, is the first in a series of Audio
Cassettes planned to present exclusively some
of the innovative thoughts mentioned earlier.
In three parts, Laya Vrushti presents an
innovatory item LAYA SAMMILAN,
followed by a classical rendition,
MRIDANGAM SYMPHONY, and the
conventional percussion round with a blend
of different Instruments named
PERCUSSION ENSEMBLE.

Laya Vrushti attempts to reveal the
potentialities of the related instruments and
stimulate exploration of new dimensions in
music. The interesting feature of this
presentation is the individual contribution
nude by each member to produce an overall
enjoyable performance. The variety in the
items presented and the innovations attempted
establish a step towards the identification of
the independent personality of each
instrument. This was released by “Sangectha"
Master recording Co, Madras.

LAYA VINYASA

Percussion Ensemble produced under the
Scheme of Professional Groups in the \'ear
1999-20X is an experimental and innovative
rccital with eight instruments. In addition to
the conventional Karnatak percussions
Mrudanga, Khanjari, Ghata, Morching and
Konagolu, I lindustani Percussion Pakhwaj,
Open-air instrument Dolu and Rhy'thm Pad
are used to highlight the infrequent eleven -
counts time gait and Khanda Chapu. Cassette
released in 2000.

ABOUT THE ART CENTRE AND PUBLICATIONS

“ I appreciate the excellent work done in

the field of Taala - by you. I am proud to
have friends like you and it is my earnest
desire that you may succeed in all the ventures
that you undertake in the field of music." ...

Pandit Nikhil Ghosh,
Bombay

“...The Percussive Arts Centre, Bangalore,
under the able direction of Sri Bangalore K.
Venkataram deserves all compliments, for
having undertaken to print and publish Taala
Sangraha ..I am sure that this will be a very
valuable contribution to the field of music.."

Padmabhushan
Dr. V. Doreswamy Iyengar

“ The Percussive Arts Centre formed some

years back to make people better informed

about this area of music This Centre

through a series of programmes including
papers, demonstrations etc has highlighted the
manifold aspects of Tala and Laya as to inform
even lay people. Some of them have been
published in the form of monographs. But the
major event is Annual Taalavaadyothsava
where emphasis is on Thala and Laya.
Perhaps, this is the only such Festival held
in the country.....”

Justice E.S. Venkataramiah

“ As I see from Delhi “This conference

has a significance and a validity’ beyond what
has been discussed" here. I can say so with
some authority as I am here, presently chairing
a Committee in UNESCO which is having
very “knowledgeable” discussions on cultural

dimensions of development It would also

be appropriate to me that “the establishment
of the Percussive Arts Centre itself has
been an important event.” The development

of the Centre within a short lime to the
present status, we owe to Venkataram.
Bangalore and Venkataram have become

inseperable "Institutions like the Percussive

Arts Centre, Seminars and conferences such
as of today; I am sure contribute a great deal

towards these objectives

J. Vecraragbavan,
Delh

“..I am happy that the Percussive Art Centre
of Bangalore has undertaken Publishing this
work (Iaala Sangraha, a compendium of Taalas
in Karnatak music). I welcome and
apprcciatetheir gesture. It is noticed that the
Percussive Art Centre has been striving to
enlighten the general public on the proper
appreciation of the art of laya to the Laya
and Thala which are so essential in perception,

preservation and propogation of music "

H. Kamalanath, President,
Bangalore Guyana Samaja

“...We have every reason to be proud of this
Centre, and to me it is a matter of deep
appreciation to associate myself with the
centre..." “.... The Percussive Arts Centre has
been doing Yeomen services in the promotion
and dissemination of greater awareness and
the knowledge of various aspects of percussive
arts and instruments among musicians, scholars
and rasikas alike.

Valedictory address of Taalavaadya Seminar-1....
The Percussive Art Centre is striving hard
to promote the interests of Percussive arts
and to highlight the role of rhythm and
taala in our music ....

Key Note address for the Taalavaadya
Seminar No. 2

Sangcetha Kalanidhi Dr. R.K. Srikantan

"... Sri Bangalore K. Vcnkataram, our popular
percussionist and the Director of the Percussive
Arts Centre, deserves compliments for his
persuasive encouragement to Sri Sundaram to
work out this unique volume (Taala Sangraha),
for publication by the Percussive Art Centre.
The Centre, although still in its tender years,
has already done well in the cause of Percussive
an and its research. My best wishes to the Art
Centre, with fond hope that its progress would
be better and higher still with march of time..."

Ganakala Bbusbana A. Subba Rao

" The object of the Percussive An Centre

is to highlight these distinct characters and the
fascinating world opened up by these
instruments and make the people really
conscious of the vast potentialities of these
instruments and the beauty they reveal.
Through numerous programmes, the Centre
has highlighted interesting features and land
marks of this fascinating rhythmic world during
these past several years...." “.... even the range
and quantum of the present collections itself
is an achievement which is certainly a valuable
contribution in the realm of rhythm in Indian
music.” Seminars where different Talavadyas
are taken up as the main subjects, is a grey
area not only to music enthusiasts hut also
musicians themselves. The instruments arc
studied from different angles like the Historical,
Technical, Scientific, Aesthetic etc. ... These
seminars, not only enlighten the public but
also enrich knowledge available about these
instruments and this leads to further
improvements.

Preface to proceedings of Talavaadys
Seminar - 2

Sangeetha Kalarathna B.V.K. Sastry

“ Quarterly Newsletter of the Percussive Arts

Centre is really good and fine that such a

newsletter comes out from Percussive Arts
Centre, Bangalore

Sangeetha Kalanidbi, Padmabhusban
Umayalpuram K. Sivaraman

"... All in all, Thaalavaadyothsav was a very
useful festival, one which has made the need
and presence of an institution devoted to
“Talavadya" felt emphatically. 'Ihere is no doubt
that it has attracted the attention of fresh
blood which should augur well both for our
classical music and the Centre in particular,
which means the purpose of the festival has

been served " The musical tree in India has

two basic divisions - Raaga and Taala, while
raaga governs its melodic element, taala helps
to maintain the balance... Yet taala has not
received as much attention on the academic
level. It is to fill this lacunae that the Percussive
Aits Centre was founded. In a short span, the
Centre which is only one of its kind in the
country has done pioneering work in creating
awareness on the various aspects of the system
as also the characteristics of the different

percussion instruments or Taala vaadyas

Preface to proceedings of Talavaadya Seminar

- 1 .

Karnataka Kalaatbilaka
S.N. Chandrasekhar

"... Percussive Arts Centre who have been
organising planned programmes to highlight the
role of laya in music have been doing
remarkable service in this direction and I wish
the centre an precedent cd succss in their
efforts....”... I hereby record my deep senge of
appreciation of your venture of promoting
the cause of performing arts and artistes ....

Dr. K.N. Bbowmick, Prof.

Dept of Applied Mathematics,
Institute of Technology,
B.H.U., Varanasi

The cause you are trying 10 promote is
admirable. I have the greatest regard for the
an of rhythm ... Yours is the only institution
of its kind in the country; at best there is

no parallel of it in North India

Prof. S.K. Saxena, Roopnagar,
Delhi - 7

Services rendered by the Percussive Arts
Centre, to the fulfilment of the percussive
arts of India is unparalled in India. During
these years the Centre has placed the Mcastros
of the Mridangam in equal status with the
Vocalist, honoured their an and dedication with
awards and public acclaim. Along with the
practice of the an, the Science of the an and
the synthesiser of laya and tala have been the
topics of Lec-dcms, helping deeper
understanding and appreciation of this an. The
Centre remains very active through the year,
- as one can see from the number of
programmes organised in a year. It covers a
wide span of artistic and education oriented
events.

Prof R.C. Mehta,
Indian Mitsicological Society,

Bi irxia

Your Centre for percussion arts has been doing
yeoman service to the appreciation of music
for several years. It is clear from the dedication
of hard working people like you in Bangalore
that the Centre is recognized as a premier
institution for tala vadya. The list of
publications from the Centre and the galaxy
of worthy awardees who have been recognized
by the Centre arc very impressive indeed ....

A. Madhav, Pittsburgh,
USA

I observed that the whole team of PAC is
fully devoted for up-keep of Indian Percussive

art with disciplined zeal, positive spirit, modesty

and creative mind to the best of my

knowledge PAC, Bangalore is the only
institution to think and work in support of
Percussive arts and Percussionists of
Indian music.... Pandit I..D. Dixit, Former
Director of Programmes (Music),

All India Radio,

New Delhi

K. Venkaiaram through the PAC lias been doing
a great contribution to the understanding and
propagation of the Percussive Arts,
Instruments, and concepts relating to tala and
laya. I am all admiration for the activities of
the centre and am only too happy to associate
myself with its academic projects.

Preface to publication “Essays on Tala and
Laya"

Prof Dr. N. Ramantban,

Heart. Dtp! o f Music.
( 'nioersity of Madras

...lam astounded at your energy and drive.
Your day appears to have 48 hours. By
concentrating on one subject viz. Percussion,
you have placed it on the musical map of the
world. To my knowledge there is no
intitution like the Percussive Arts Centre
anywhere in the world, not a periodical
exclusively devoted to percussion. You
have beaten hollow Buddy Rich, the American
'percussion king* who collected 4C0 different
kinds of drum from all over the world.

Sangita Kala Acharya
T.S. Partbasaratby,
brl/ow - Sangeet Natal: Akademi. Emeritus
bellow - Dept, of Culture - Gov. / of India

ffi 26563079

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1 83. 8th Cross, 2nd Block, Jayanagar, Bangalore-56001 1 .

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PERCUSSIVE ARTS CENTRE (Regd.)

(Palghat Mani Iyer Memorial Art Centre)

K. PUTTU RAO MEMORIAL PALGHAT MANI AWARDS

30.5.83

1 .

Palghat R. Raghu

Mrudanga Kalaa Shiromani

31.5.84

2.

Vellore Ramabhadran

u

31.5.85

3.

Late Ramanathapuram C.S.Murugabhoopathy

31.5.86

4.

M. S. Ramiah, Bangalore

31.5.87

5.

Thanjavur T. K. Mur thy

31>.5.88

6

Umayalpuram K. Sivaraman

31.5.89

7.

V. Kamalakara Rao. Rajmahendiy

31.5.90

8.

Prof. Trichy Sankaran, Canada

*

31.5.91

9.

Te. Ve. Gopalkrishnan

“

31.5.92

10.

Late K. M. Valdyanathan. Pondicherry

"

31.5.93

11.

H. P. Ramachar. Bangalore

“

31.5.94

12.

Dandamudi Rammohan Rao. Vishakhapatnam

31.5.95

13.

Valayapatti A. R. Subramaniam

Thavil Kalaa Shiromani

31.5.96

14.

Guruvayur Dorai

Mnjdanga Kalaa Shiromani

31.5.97

15.

A. V. Anand, Bangalore

“

31.5.98

16.

Haridwaramangalam A.K. Palanivel

Thavil Kalaa Shiromani

31.5.99

17.

Madras A. Kannan

Mrudanga Kalaa shiromani

31.5.00

18.

Prof. Yella Venkateshwara Rao

"

31.5.01

19.

T.A.S. Mani, Bangalore

"

31.5.02

20.

S. Rajam

Sangeetha Kalaa Shiromani

31.5.03

21.

T.H. Vinayakaram

Ghatam Kalaa Shiromani

31.5.04

22.

Dr.L. Subramaniam

Violin Kalaa Shiromani

31.5.05

23.

Dr.M. Balamuralikrishna

Sangeetha Kalaa Shiromani

31.5.06

24.

Mannargudi A. Easwaran

Mrudanga Kalaa Shiromani

PALANI

27.5.90

SUBRAMANYA PILLA1 AWARDS

1. H. R Ramachar

Laya Kalaa Nipuna

26.5.91

2.

R. R. Keshavamurthy

27.5.92

3.

Dr. R. K. Srikantan

“

27.5.93

4.

A. V. Anand

“

27.5.94

5.

Late Anoor S. Ramakrishna

•

27.5.95

6.

T.A.S. Mani

**

27.5.96

7.

Prof. R. Visweswaran

“

27.5.97

8.

Late V. Nagarajan

"

27.5.98

9.

K.N. Krishnamurthy

**

27.5.99

10.

V.V. Ranganathan

27.5.00

11.

RG. Lakshminarayan

41

27. .5.01

12.

T.R. Subramanyam, Delhi

28.5.02

13

Lalgudi Jayaraman

**

28.5.03

14

T.N. Seshagopalan

*

27.5.04

15

M.Vasudeva Rao

-

27.5.05

16

L. Bhimachar

u

28.5.06

17

Chinglcput Ranganathan

*

SILVER JUBILEE LIFE TIME ACHIEVEMENT AWARD

04.6.06 Dr. R. K. Srikantan

H. PUTTACHAR

MEMORIAL AWARDS

28.5.95

1 .

S. Shankar Sangeetha Kalaa Prathibhaa Mani

28.5.96

2.

M. T. Rajakesari Laya Kalaa Prathibhaa Mani

28.5.97

3.

D. Balakrishna Sanngeetha Kaalaa Prathibhaa Mani

28.5.98

4.

T. S. Chandrasekhar Laya Kalaa Prathibhaa Mani

28.5.99

5.

V. Praveen

28.5.00

6.

Anoor Ananthakrishna Sharma

27.5.01

7.

Sukanya Ramgopal "

27.5.02

8.

B. Rajasekhar

27.5.03

9.

Tirumale Srinivas

27.5.04

10

Anoor R.Dathatreya Sharma **

27.5.05

11

H.S. Sudhindra “

28.5.06

CMANA

12

PRIZES

G.S. Ramanujam

27.5.03

1

B.S.Purushotham

27.5.04

2

N.Amrit

27.5.05

3

B.C. Manjunath

28.5.06

4

G. Guruprasanna

H. C. K.

BHATTA MEMORIAL PROGRAMMES

13.9.84

1.

"Role of Laya in Kamatak Music" by A. Subba Rao

05.9.85

2.

“Reference to Taala Vaadyaas in Kannada Literature" by B. V. K. Sastry
(Monograph released) • Kannada.

22.9.86

3.

"Psycology of Laya" by Prof. S. K. Ramachandra Rao (Monograph released)

14.10.87

4.

"Mysore Veena PSrampare' Lecture by Late Dr. V Doreswamy Iyengar (Mono-
graph released) -Kannada

05.9.88

5.

"Chandassinalli Taala Layagalu" by Late Prof. M. Rajagopalacharya. Udupi
(Monograph released)-Kannada

19.9.89

6.

“Thaalaas in Yakshagana" by Hosthota Manjunatha Bhatta(Monograph re-
leased) - Kannada

14.12.90

7.

“Contribution of Haridasas to Kamatak Taala System" by Tirumale Sisters.

25.09.91

8.

Lecture by R. R. Keshava Murthy

18.1.92

9.

"Music of Musical Trinity" by K. fodmanabhan (Monograph released)

13.10.93

10.

“World Music" by Prof. R. Visveswaran (Monograph released)

14.4.94

11.

"Contribution of Purandara Dasa to Kamatak Music" by
Prof. S. K. Ramachandra Rao

07.3.96

12.

Study circle on Pollavis by Prof. T. R. Subramanyam

28.5.96

13.

Special feature on "Laya in Sugam sangeetha"

25.5.97

14.

“Essays on Tala and Laya" by Dr. N. Ramanathan (Book released)

30.5.98

15.

Thavil (Doki) - Haridwaramangalam F^lanivcl

30.5.99

16.

Vocal recital of Sangeetha Kalanidhi R. K. Srikantan

30.5.00

17.

Violin duet by Mysore M. Nagaraj & Dr. M. Manjunath

30.5.01

18.

Vocal duet by Rudrapatnam Bros - R.N.Thyagarajan & Dr. R.N.Tharanathan

30.5.02

19.

Violin duet by Lalgudi G-J.R.Krishnan & Vijayalakshmi

30.5.03

20.

Classical Music Ensemble lead and directed by Tirumale Srinivas

27.5.04

21.

Vocal recital by Vidushi R*dma Gurudutt

27.5.05

22.

Vocal concert by Vidwan T.V. Gopalaknshnan

28.5.06

23.

Special Silver Jubilee Percussion Ensemble of 25 percussion instruments
directed by Vidwan Anoor Ananthakrishna Sharma

SPECIAL LECTURES. FEATURES Etc.,

30.5.82 “Pudukkottai and Tanjore Styles of Mrudangam Play" by Late. T. Sankaran. Direc-
tor. Tamil Isai Kailoori. Madras. (Printed in Lecture Jewels Casket)

07.2.83 "References to Percussion Instruments in Sculpture” by B. V. K. Sastry

20.5.83 “What is Carnatic Music?” by Late Dr. V. K. Narayana Memon. Chairman.
Sangeet Natak Akademi, New Delhi. (Printed in Lecture Jewels Casket)

10.7.83 “Comparative Study of Hindustani and Karnatak Taala Systems’’ by Dr. M. R.
Gautam, Vice Chancellor. Indira Kala Viswa Vidyalala, Khairagarh.

27.9.83 "Drums of Karnataka” by Late S. Krishnaswamy

16.10.83 "Rerences to Taala and Laya in Kannada Literature" by Padma Gurudatt

20.11.83 "Studies in Rhythm-Mrudangam" by A. V Anand

11.12.83 “Chapu, Desaadi-Madyaadi Taalas" by Dr. T. Sachidevi

27.5.84 “Music & Rhythms” by Prof. Ashok Ranade, Bombay, (Printed in Lecture Jewels
Casket)

21.8.84 Palani Subramanya Pillai Memorial Lecture by T. Sankaran. Canada, "Art of Play-
ing Mrudangam. Palani Style"

11.12.84 "Studies in Rhythm-Laya in Musical Compositions" by M. S. Sheela

02.12.84 "Laya in Harikatha* by Brahamashri T S. Balakrishna Sastrigal

23.8.85 “Laya in Veda Mantraas” by Brahmashri I .ate. B. S. Shivaswamy

01.6.86 "Science & Art of Traditional Tabala Play" by Late Pandit Nikhil Ghosh, Bombay
(Monograph released- Out of print)

02.6.86 “Great Laya Vaadyakaaraas of Karnatak Music". By B. M. Sundaram.R>ndicherry
(Monograph released)

18.7.86 Eka taala Sabha" by S. Seshagiri Rao on Violin

18.7.86 “Laya in Bharathanatya" by Lalitha Srinivasan

18.9.86 "Laya in Kirthis of Thyagraja” by S. Usha Char (U.S.A.)

25.2.87 “Laya in Stage Music” by R. Ffcramasivan

30.5.87 “Taala Dasapraana” by Prof. S. R. Janakiraman, Tirupathi (Monograph released)

31.7.87 "Innovations in Taala” by Dr. Balamurali Krishna

23.1.88 Electronic Tabla by G. Raj Narayan

21.5.88 "Laya in Neravaf by P S. Vfosantha

04.6.88 "Indian Tala Heritage & Folklore" by Pbdmashri Komal Kothari. Jodhpur

13.12.88 "Rhythm Composer" by Balasubramanyam

29.5.89 "Manipuri Taala Systems" By Late Guru Bipin Sinha. Calcutta, assisted by
Dharshana Jhaveri. Calcutta (Monograph released)

25.8.90 "Tala and Laya" Illustrated Lecture by Veena Late Dr. S. Balachander

30.5.90 Lecture and Karnatak Music (Booklet released)

25 31.5.92 Birth Centenary of ftmchakshari Gawai

30.3.93 "Laya in the Music of Musical Trinity" by Lalgudi G. Jayaraman.

30.5.93 Symposium on “Veda & Laya" by Prof. T. V. Kuppuswamy (New Delhi) & Prof S.
K. Ramachandra Rao

23.10.93 Release of ‘Asthothara Taala Thiruppagazhs' edited by T. Ekambaram, Madras by
B. V. K. Sastry, Dr. V Doreswamy Iyengar presided.

16 - 17.10.93 Birth Centenary Celebrations of Mayuram Vswanatha Sastry-1, at Bangalore
3.11 93 Birth Centenary Celebrations of Dwaram Vcnkataswamy Naidu. at Bangalore

17- 21 . 1 1 .93 Birth Centenary Celebrations of Mayuram Viswanatha Sastry-2 with Bharatiya Vidya

Bhavan, Madras Kendra

27 - 30.5.94 Birth Centenary of Mysore T. Chowdiah

23.12.94 Recital of Compositions of T. Chowdiah at Madras Fine Arts Society

14.4.94 Symposium on “Contribution of Purandaradasa to Karnatak Music

21.4.95 “Nowka Chari la” of Thyagaraja by Dwaraki Krishnaswamy

27.5.94 Release of Audio Casette of compositions of Mysore T. Chowdiah

27.7.94 Release of Audio casette of Veena Kinhal

29.1.95 Release of Audio casette “Laya Vrushti" - Percussion Ensemble of Art Centre

29630.5.95 Birth Centenaries of Tanjore Vaidyanatha Iyer & Needamangalam
Meenakshisundaram Pillai

27.9.95 Birth Centenary of H. Yoganarasimham

29630.5.96 Birth Centenaries of Chembai Vaidyanatha Bhagavathar Maharajapuram
Vishwanatha Iyer

27-31.5.96 Display of select Photographs of Laya Vidwans by Late. N. Sundarraj.

16.11.96 Birth Centenary of N. Channakeshaviah

27 31.5.97 Birth Centenary of Mudicondan Venkatarama Iyer
27-30.5.98 Birth Centenary of T.N. Rajarathnam Pillai

21.3.98 Birth Centenary of Kumbakonam Rangu Iyengar

14.8.98 Birth Centenary of Kumbakonam Rajamanickam Pillai

15.8.98 Birth Centenary of Chittoor Subramanya Pillai

16.8.98 Birth Centenary of Flute T.N. Swaminatha Pillai

17.8.98 Birth Centenary of H. Puttachar

30.5.99 Birth Centenary of Musiri Subramanya Iyer, B. Devendrappa, Annaswamy
Bhagavathar and Umayalpuram Kodandarama Iyer

12.11.99 Birth Centenary of Veena Venkatasubbiah.

24.3.0 Birth Centenary of Thiruvaalangadu Sundaresha Iyer

27.5.01 Birth Centenary of Lalgudi Gopala Iyer

30.5.01 Birth Centenary of Prof. PSambamurthy

30.5.01 Birth Centenary of B.S.Raja Iyengar

30.5.01 Birth Centenary of Karaikkudi Muthu Iyer

30.5.01 Birth Centenary of T.S. Vilwadri Iyer

30.6.01 & 1.7.01 Birth Centenary of R. Rangaramanuja Iyengar
15 & 16.12.01 LECDEM on Mela Ragas by S. Rajam

27.5.02 Birth Centenary of Morching Mannargudi Natessa Pillai

29.5.02 Birth Centenary of Papa K.S.Venkataramiah & Varahoor Muthuswamy Iyer

24.1 1.02 Birth Centenary of Titte Krishna Iyengar

28.5.03 125th Birth Year of Dr. L. Muthiah Bhagavathar and Birth Centenary of
C.S. Sankarasivam

29.5.03 125th Birth Year of Bangalore Nagarathnamma

30.5.03 Birth Centenary of B.K. ftidmanabha Rao and D. Subbaramaiah

29.5.04 150th Birth Year Celebrations of Veena Subbanna, Lecture on the life & compositions
of Veena Subbanna by Vidushi TSharada

30.5.04 125th Birth year Celebrations of ftdani Muthaiah Pillai & Birth Centenary Celebrations
of Madurai Srirangam Iyengar of Mannargudi. Lecture by Sri B.M.Sundaram

28.5.05 Birth Centenary of Gottuvadyam Narayana Iyengar

29.5.05 Birth Centenary of T. Sankaran

30.5.05 Birth Centenary of S.G. Kittappa
SEMINARS AND OTHER ITEMS

31.5.83 "Memories of a Mediocre man" by Late S. Y. Krishanaswamy, ICS (Book released)

30.5.85 “Reference to Laya in Kannada Literature" by Ramaa Bennur. Tala and Laya in

Music" by T. R. Subramanyam, Delhi, (Printed in Lecture Jewels Casket)

26 - 27.2.85 International Mini Drum Festival with ICCR at Town Hall. Bangalore
31.5.87 Ffelani Krishna Iyer Commemoration day-Symposium on “Terracota Musical Art"

21- 23.1.88 Pallavi Seminar

30.5.89 Symposium on “Intricacies of Laya" - T. R. Subramanyam, A. V. Anand, Calcutta
K. S. Krishnamurthy. Nagavalli Nagaraj, Chaired by R. K. Srikantan

27.5.90 Release of book “Ashothhara Thala Thriruppuazhs" edited by Late T. Ekambaram,
released by B.V.K. Sastry.

29.5.90 Symposium on Pallavi-chaired by R. K. Srikantan & V. Doreswamy Iyengar, Re-
lease Video Cassette “Pallavis” rendered by Prof. T. R. Subramanyam.

29.9.91 “Future of Classical Music" : Late Dr. V. Doreswamy Iyengar & R. K. Srikantan
26 - 27.5.92 Seminar on “Problems of mutual appreciation of Kamatak & Hindustani Systems

of Music".

23 - 24.2.92 Seminar - I on Talavadyas - Vibrations, Talavadyaas of different regions etc.

7 - 8.2.93 Seminar ■ 2 on Talavadyas - Khanjari & Ghata

30.5.93 Symposium on “Laya on Vedas”

18 - 20.11.93 Seminar - 3 on Talavadyas - Dolu, Moldring & Gethu at Bharatiya Vidya Bhavan,
Madras

14.4.94 Symposium on “Contribution of Purandaradas to Kamatak Music"

29.5.94 Symposium on “Art and Personality of Mysore T. Chowdiah"

11.2.98 Seminar - 4 on Talavadyas - Tabla. Pbkhwaj, Naquara.

24-26.5-98 Achivements in the field of P?rcussivc Arts over 50 years.

8.2.99 Seminar - 5 on Talavadyas - Chandes, Drums of Papua New Guinea

1999-2000 Percussion Ensemble of Percussive Arts Centre.

9 &10 2001 Seminar • 6 on Talavadyas • Folk Drums of Karnataka

20.1.02 Seminar -7 on Talavadyas - Individual & Independent personality of FVercussions

15.3.03 Seminar - 8 on Talaavadyas • Role of Mrudanga in Bhartanaiya

13.3.04 National Festival of Percussions

14.3.04 Seminar - 9 on Talaavadyas - Pmchavadyam & Thampayaka

29.5.05 Seminar - 10 on Talaavadyas - Manipuri Khol. Bangal Dhol, Shri Khol, Kara Nakara

19.3.06 Seminar - 11 on Talaavadyas - Thaniavarthanam (Laya Vinyasa • Developments,
Trends & Future)

18.3.07 Seminar - 12 on Talaavadyas - Arithmetics on Thaalavaadyas

STUDY CIRCLES

22 - 23.12.88 Rare Vamas directed by B. M. Sundaram

13 - 23.3.89 Compositions of Kanaka Dasa directed by R. K. Srikantan

20 - 29.9.89 Compositions of Vadiraja directed by Late Anoor S. Ramakrishna

13-23.1.93 Abhayaamba Navaavarana Krithis directed by R. K. Srikantan

29 -2.6.93 Lalgudis’ compositions directed by Lalgudi G. Jayaraman

28.5.94 Mysore T. Chowdiah’s Compositions directed by Late Anoor S. Ramakrishna

18-19.10.95 Dikshithar’s krithis directed by R. K. Padmanabha

06.3.96 Pallavis directed by Prof. T. R. Subramaniam

1 • 14.5.97 Select Thillanas of Dr. M. Balamuralikrishna directed by Nagavalli Nagaraj
12-17.10.98 Devi Krithis directed by M.S. Sheeta

1 to 5.6.02: 72 Melas under the guidance of Sangeetha Kala Shiromni S. Rajam

LIST OF PUBLICATIONS and details thereon:-

Rupees

1 Great Laya Vaadyakaaraas of Kamatak Music by

B. M. Sundaram (Talk on 2.6.1985), Released on 1.6.86 20/-

2 The Art & Science of Tabla by Pandit Nikhil Ghosh
(Demo on 31.5.87, out of print)

3. Kannada Saahityadalli Taalavaadyagala Ullekha in Kannada

by B. V. K. Sastry (Talk on 5.9.95), Released on 1.6.87 20/-

4. Taala Sangraha (Compilation of dala for over 1200 Taalas)
by B. M. Sundaram, Released on 31.7.87(out of print)

5. Psychology of Laya by Prof. S. K Ramachandra Rao

(lecture on 22 9.86), Released on 1 6.88 20/-

6. Taala Dasa Praanaas by S. R. Janakirman (lecture on 31.5.82) 20/-

Released on 1 6.88

7 Lecture Jewel Casket, Vo! 1 Edited by Bangalore K. Venkataram,

Lectures by T. Sankaran (30.5.82),

V K. Narayana Menon (29.5.83), Ashok Ranade (27.5.84),

Pandit Nikhil Ghosh (1.6.86), Released on 4.6.88 30/-

8. Chandassinalli Taala Layagalu in Kannada

by Prof. M. Rajagopacharya. (Talk on 4.9.88) Released on 4.9.89 20/-

9. Devotional Music by Late P V. Rao. Released on 30.5.89 10/-

10. Pallavigalu, Key-note address in Kannada by R. K Srikantan

on 1 1.88 - released on 31.5.89 20/-

1 1 Kanakadaasara Keerthanegalu, in Kannada
(Study Circle in 1989 by R. K. Srikantan.

8 krithis in notation Released on 28.5.90. 20/-

12. "Yakshganadalli Talagalu" in Kannada

by Hosthota Manjunatha Bhatta (Talk on 19.9.89)

(Relased on 30.5.90) 20/-

13. “Msyore Veena Paramapare” in Kannada

by Dr. V. Doreswamy Iyengar (Talk on 14.10.87) (Relased on 31.5.89) 20/-

14. Kancheepuram Nayana Pillai. Monograph

by B. M. Sundram, (Released on 31.5.90) 10/-

15. Inaugural Address of Talavadyothsav '89 - Monograph

by Dr. Raja Ramanna on 27.5.89, (Releasedon 8.7.90) 10/-

16. Manipuri Tala System by Guru Bipin Singh
(Talk on 29.5.89) (Released on 26.5.91)

17. Comparative study of Talas in Hindustani and Kamatak Systems

20 /-

by T. V. Gopalkrishnan, (Talk on 29.5.90)(Relased on 31.5.91)

(out of print)

18. Decennial celebrations (Lecture session on 31.5.92)

(Prof. R. Visweswaran, Dr. Surochana Rajendran, 25/-

B. M. Sundaram, K. S. Mahac'evan)

19. Problems of Mutual appreciation of Hindustani & Kamatak Music

{Proceedings of Seminar on 27.5.93) 25/-

20. 'World Music" by Prof. R Visweswaran (released on 25.5.96) 10/-

21. Monograph on Needamangalam Meenakshisundaram Pillai 10/-

(Released on 28.5.90)

22. Monograph on Tanjore Vaidyanatha Iyer (Released on 29.5.90) 10/-

23. Proceedings of Talavadya Seminar - 2 (on Khanjari and Ghata) 30/-

(Released on 28.5.98)

24. Proceedings of Talavadya Seminar - 3 (on Dolu, Morching & Gethu) 25/-
(Released on 31.5.98)

25. “Tala & Laya" - Dr. S. Ramanathan (Released on 28.5.98) 120/-

26. Achievements in the field of Percussive Arts over 50 years

(Released on 27.5.99) 150/-

27. Proceedings of Talavadya Seminar - 4 (Tabla. Pakhwaj & Naquara)

(Released on 28.5.99) 120/-

28. Achievements in the field of Percussive Arts over 50 Years 150/-

29. Compositions of Chikka Ramarao (Released on 29.5.99) 70/-

30. Compositions of Flute H. Narasingha Rao (Released on 30.5.99) 40/-

31. Monograph on Harmonium Arunachappa(Relased on 28.5.2000) 10/-

32. Symposiuym on Naagaswara 120/-

33. Proceedings of Talavadya Seminar - 5. 6 & 7 (Chandes, Drums of
Papua New Guinea, Folk Drums of Karnataka and Individual &

Independent personality of Percussion) 150/-

34. Pallavi Seminar & Collections of Data & Material on Pallavis 60/-

35. Compositions of Mysore T. Chowdaiah (Tamil Version) 20/-

36. 'Thirumakudalina Sangeetha Parampare* (Kannada Version) -

Vidushi Padma Gurudutt 20/-

37. Contribution of Thiramakudalu to Karnatak Music (English Version) -

Vidushi Padma Gurudutt 20/-

AUDIO CASSETTES released :

1 .

Vocal Recital of compositions of T. Chowdiah

(rendered by M. S. Sheela, S. Shankar. G. R. Jaya. P&dma Gurudutt,

R. K. Padmanabha & D. V. Nagarajan & T. S. Sathyavathy)

30/-

2.

Veena recital of Veena Kinhal (daughter of Veena L. Raja Rao)

30/-

3.

LAYA VRUSHTI - Percussion Enemble of Percussive Arts Centre
P4 ECD 4338 released by SANGEETHA RECORDING CO., Madras

38/-

4.

Classical Melodies - Flute - V. Ananth
P6 ECDB 748 released by Sangeetha, Chennai

45/-

5.

Swama Bharathi - patriotic songs in Sanskrit composed by
Mayuram Vishwanatha Sastry. Directed by : S. Shankar,

Singers: S. Shankar. P Sashidhar, Ajai, C. R. Amarnath,

Swama Shankar, V. Kalavathy, N. R. Sharada, Lakshmi Subramanya

35/-

6.

Kamatak Melodies on Angklung, Indonesian Bamboo instrument
by H. S. Anasuya Kulkami.

35/-

7.

Laya Vinyasa * Percussion Ensemble (A.V. Anand, H.P Ramachar,
R.A. Rajagopalan, B Rajasekhar, Anoor Ananthakrishna Sharma,
B.S. Arunkumar and B.C. Manjunath)

40/-

8 .

Mela Manjari by G.R. Jaya (Exclusive Select compositions in
Mela Kartha Ragas)

35/-

With Best Wishes From

H. GEETHA & FAMILY

Kamatak Classical Vocal Musician

.1

418, 10th Cross, Vykhari, Padmanabhanagar,
Bangalore -560 070